Huajian Ci is an early word, named after its source Huajian Collection.
Huajian Collection is the earliest anthology (or anthology) compiled by Zhao Chongzuo in the Five Dynasties and Three Years (94 1), which contains 500 works by Wen et al. 18 people in the late Tang Dynasty, with a total of ten volumes * * *. The age of the work is about a hundred years, from the first year of Tang Kaicheng (836) to the third year of Zheng Guang, with Ouyang Jiong as the preface. Among them, Wen Tingjun received the most, including * * * sixty-six, Sun Guangxian * * * sixty-one, Gu Xun * * * fifty-five, Wei Zhuang * * * forty-seven, and Lu Qian and Yin E at least six. Zhao Chongzuo, the editor, doesn't have any songs himself, and Ouyang Jiong, the sequencer, has only 17 songs. [1] This also shows that the candidate's attitude is objective and selfless. The selected authors are not limited to Houshu. For example, although Sun Guangxian was a native of Shu, he was an official under Gao Jixing of Jingzhou (now Yichang, Hubei) for a long time (926-963). He was not in Chengdu at the time of Hua Jian Ji, but his ci was selected as many as 6 1 head, second only to Wen. Some of these words, such as "kapok", "Cantonese bird", "bronze drum" and "Mange", all praise the southern scenery. It can be seen that the source of the editor's material is not limited to Chengdu, but also related to other literati at that time. Therefore, we should not regard "China" as an anthology of writers in a certain place, but rather as a collection of lyric poems that appeared on behalf of China during the 100 years from 1930s to 1940s. It is not unreasonable for the poets in the Northern Song Dynasty to regard the Collection of Flowers as an authentic work and call this book a "statement of nature".
Generally speaking, words are classified by length: "slow words" are the longest, ranging from 90 to 200, so they are also called "long tunes"; Fifty-nine to ninety words are "alto" and within fifty-nine words are "poems". Huajianji has only poems and middle tones, but no long tones and slow words. It is not that the elector has a preference for poetry, so he abandoned the slow words and did not record them. It's really because slow characters didn't develop from the late Tang Dynasty to the Five Dynasties (even the early years of the Northern Song Dynasty). The same is true of another early anthology, Zunqianji, which only accepts poems and middle notes. [②]
Why is the shorter word called Xiao Ling?
The word "ling" has a very ancient origin. "Ling" is short for "Liquor Order". "Ordering wine" is a custom in ancient banquets. Chunyu Kun said in Biographies of Historian Funny that "giving wine to wang qian, enforcing the law on the side, remonstrating later", and "enforcing the law" and "remonstrating" are to implement and correct the wine order. It is said that Lv Hou, Emperor Gaozu, invited his ministers to drink, and the drinking orders were as strict as military orders. Those who disobeyed were killed at that time. In this way, Lv Hou suppressed the martyr's family members and made them obey absolutely, so all the people who went to the Lv Hou banquet were frightened.
In the Tang Dynasty, the nobles treated their guests with singers and drinking orders, which was much more civilized than the previous world. The way is to let them sing some songs to persuade guests to drink. When a guest listens to drinking, it shows that he appreciates her singing. The song sung during the drinking season is Xiao Ling. Sun Bai's "Northern Records" said that the singer at that time was "a beggar since childhood ... and she was very eager to teach songs". Sun Bai also introduced in "Singer" that "Brother Xian is good at joking, singing and dancing, and often corrects his seats". He also said, "Zheng Juju is also good at making chapters, and taste and crimson truth are mutually positive." "Western rectification" is the ancient "law enforcement" and "suggestion". Yan's "Partridge Sky" in the Northern Song Dynasty said:
My little father has seen Yu Di before, and the song "Silver Lantern" is so enchanting. Who can hate getting drunk in a song? After the singing, the wine still lingered.
The author of this school of Huajian Ci admitted in the Postscript of Xiaoshan Ci that all his works were written to singers in friends' homes to persuade them to drink. But he thinks that the content of his ci is "feeling of things" and "separation of sadness and joy". Because I was dissatisfied with the lyrics at that time, I wrote this series to "make up for the death of Yuefu". This is a feeling and an ambition with Li Bai's so-called "taste for both refined and popular tastes" and "mourning for poets". Of course, Yan's works are limited to the love between men and women, and there are few divorces, but it can explain the nature and origin of the poem in ancient times and its position in the entertainment life of ancient intellectuals, that is, the role and position of this literary genre in the literary history at that time, especially in the operas after the Northern Song Dynasty, and its long-term influence on later songs. Without mentioning the Song Dynasty in the history of China literature, there would be no drama and Sanqu in the Yuan and Ming Dynasties. The main source of Song Ci is the drinkers' wager game sung by singers in the banquets of Tang and Five Dynasties.
The etymology of Huajian comes from the singer's drinking order, but what we see in this article is the works of art processed by literati, or the works of literati replacing girls. Ouyang Jiong's preface said that this 500-piece flower collection is a collection of "poets' modern poems" collected by "the vast number of guests". The reason why I want to finish this episode is because the editor thinks that the "Palace Style in the Southern Dynasties" and "Worship Style in the North" at that time were not only in poor form ("words without sentences"), but also had no substantive content ("putting on a show without substance"), so several famous writers, Wen Feiqing and Li Taibai, were specially introduced, taking their words as models. (However, although Ouyang Jiong mentioned in his preface that Li Bai's Four Poems of Qingping Music should be written, he was not selected. )
Among the works of Tang poets such as Wei, Liu Yuxi and Bai Juyi, 285 songs were selected. Of course, there are still many works of the Five Dynasties, such as Ouyang Jiong's Thirty-one, Sun Guangxian's Twenty-three, and Ning He's Five Works of Jiangchengzi, all of which are important models of the later "five-tone tune". The eight "Huanxisha" in Sun Guangxian's "Flower Collection" is also a connected story [4]. Liu Yong, Qin Guan and Zhou Bangyan can inherit this skill of writing stories with poems, and Zhou Bangyan can develop. For example, each of his three Youth Journey (Knife Like Running Water, Vague Roof and Teeth, Wandering to the Cloud) has written an independent story, which is particularly outstanding. In such a short clip, there are not only stories, but also dialogues between characters, which can't be done by those literati who can only complain or make up words in the Southern Song Dynasty. This artistic technique can be traced back to the more ancient Yuefu folk songs, and even to the earliest folk song "The Book of Songs" in China. Feng Qi Ji Ming is a good example.
Ci was originally the lyrics of Yuefu in Tang and Song Dynasties. Our current concept seems that "Yuefu" only refers to the folk songs of the Han, Wei and Six Dynasties or the songs with music in churches and temples. In fact, the Song people themselves thought that Ci was the "Yuefu" of their generation, so Yan said in the preface of Xiao Shan Ci that his anthology was called "The Death of Yuefu". He also said that his lyrics were written for singers. "Every time I get a solution, I will teach the children grass, and the three of us will listen to it with wine." This is the same as "hand over the leaves of flowers and draw beautiful flowers" in the preface of Huajianji. Lift your fingers and pat sandalwood; There is no shortage of words, and it is the same meaning to use it to help the enchanting state.
Since Huajianji created the atmosphere of Ci in the Northern Song Dynasty and became an authentic Yuefu at that time, on the other hand, it did inherit something. It is the successor of another collection of folk songs and literati songs. That collection is also ten volumes, and it also specializes in collecting poems about women. It can be said that it is a collection of flowers before the Tang Dynasty, that is, a new poem on Yutai. Both of these books are about love between men and women, especially about women's talent and beauty. The novel Ode to a Jade Platform also describes an unfortunate marriage. For example, the tragic story of peacocks flying southeast was first seen in this book. Many poems in this book are the works of talented women themselves. In the preface, Xu Ling, the editor, especially praised: "The articles are ingenious, especially the works of poems and poems ... full of essays, not only peony flowers;" The new system is full of articles, not the Pu Tao Tree. Climbing the mountain on the 9 th is a work of love; Princess wannian is not a word that is not tired. There are indeed many original works of talented women in "New Poems on Yutai": Ban's Poem of Complaining, Xu Shu's Poem of Answering Qin Jia, Yuefutang's Poem of Ascending after Truth, and Wang Song's Miscellaneous Poems. "。 There is no indication that this is a woman's flower collection work. As far as its content is concerned, although the works collected in the two books are all about women, Yutai has a wide collection and a long story. In the flowers, besides praising the beauty of women, there are also some customs that describe the southern scenery and ethnic minorities. As far as the scope of the subjects collected in the two books is concerned, they are all concentrated in the south. This is a matter of course in Yutai, because the editor Xu Ling is a minister of the Southern Dynasties, and the materials collected are naturally limited to the Southern Dynasties. The tradition inherited by the author of Hua Jian Ji is inevitably biased towards the south, which can be seen from the names of many aphorisms, such as: Dream of Jiangnan, Looking at Jiangnan, Wangjiang Resentment, Jiangchengzi, Linjiangxian, Nangezi, Nanxiangzi, Huanxisha, April Man, etc.
As far as the form of poetry is concerned, almost all nine volumes are five words except Yutai, which is a seven-word miscellaneous language [5]. However, Hua Jian Ji has changed a lot because of the control of the tone of words, especially the rhyme. Except for a few words [6] in Huajianji, many words are exceptions, although they all rhyme in the end. For words that rhyme to the end, rhyme can help to break sentences. There are at least two long tones (some are divided into three, that is, "double drag"), and the last word of each tone is rhyme. When you break a sentence, you can read the sentence according to the rhyme. But in the flower era, some songs used more than one or two rhymes. Here are two examples:
He Wen Chuan Ting Yun.
On the lake, A leisurely watched A Yudi (Mix) B Yan Pu Qiaohua Road Yao B Xie Niang Cui E couldn't sell it. B finally, the dream of the soul is fascinated by the night tide. B is a prodigal son, and C is late in spring. C Yingying is heartbroken.
Ruoyuexi D Xishui West D Liu Di D Buwenlang Ma Si D
The word * * * uses four rhymes, and we use abcd to express it. The last film A uses two rhymes and B uses five rhymes. The next film C uses three rhymes and D uses four rhymes, but another song with the same tune only uses abc three rhymes, A uses five rhymes (two rhymes in the upper part and three rhymes in the lower part), B uses five rhymes and C uses four rhymes, that is, the last four sentences in the lower part. Try to copy this line:
Riverside, a
Call each other
Xiaozhuangxian b
A female lotus picker in Jing Xian. b
Please don't go to the seaside, B.
Teenager! b
It's full of flowers and fat (boat) b
Tea is warmed by the wind. a
Hanging jade wrist. a
Heartbroken to willow. a
Punangou? c
Pu Beigui? c
I don't know c
There are few cases of being late. c
After the word used ab rhyme in the first part, the first three sentences returned to A rhyme in the next part, and the last four sentences were changed to C rhyme. This "rhyme method" is very similar to western poetry. In addition, the rhyme usage of each sentence (ah, b) is more like English poetry, so I won't give examples here. These changes are due to the needs of music, because words are originally created by music.
The late Tang Dynasty and the Five Dynasties were a period of chaos in the Central Plains. At that time, the great river was north and south, the east and the west were Taihang, and the big and small warlords were separated and usurped, which was the so-called "Five Dynasties Rebellion". In this case, why don't the ci poems at this time reflect the beauty and colorful songs of the Central Plains War? It turned out that although the Central Plains was chaotic at this time, it was not the case in the whole country. Due to the inconvenient transportation, Chengdu, Sichuan, which is in the embrace of Bashan and Shushui, and Jiangnan, which is protected by the great river, are like two oases in the desert, unaffected by the war in the Central Plains. Therefore, the two small imperial courts of Xishu and Jiangnan can live a peaceful life for the time being. As early as the end of the Tang Dynasty, when the local towns were domineering and sometimes there were civil wars, the aristocratic families in Xichuan and Jiangnan could live a life of singing and dancing lightly. Therefore, the "poets" attending the meeting also accumulated many songs as a poem. As for writing stories or life fragments in this genre, it was the conscious creation of literati at that time. Ning He wrote five "Jiangchengzi" in the last article, which is about the plot of lovers meeting one night. It is divided into five segments, each of which can be independently written into a poem, which together is a story:
(1) the first night with jiao into the bridal chamber, residual makeup, willow eyebrows long. Yuping is like a jade stove. Rectify the cymbals and call Xiaoyu: "Arrange the red candles and wait for Pan Lang."
This song looks forward to a lover: first dress up and burn incense, and then order the maid to light candles. "arranging cymbals (sticking flowers on your face)" and "calling it Xiaoyu" are two different things. Because of the rhythm of words, you can write a sentence. It can also be thought that while dressing up, she ordered the maid to light candles and prepare for the guests.
(2) The wind gives birth to the moon in the bamboo, which makes Qin Zheng look like a cloud. It's hard to hear the horse's neighing when you gently fiddle with the string of the Zheng. Hate and charming alone, "tonight, it's too late to be born."
In the first sentence, I used the ancient poem "Rolling the curtain moves the bamboo, and I suspect that an old friend is coming" to write about her waiting for him in fear: she dared not play the Zheng too loudly, so as not to hear the neighing of horses when he approached. Master Ma Su's former residence has been used in Tang poetry, and later Yan Yan said in Magnolia: "The former residence confirmed by Purple has hissed across the road on the east side of Huaqiao." In this word, her lover's horse will hiss when it approaches her house. She doesn't blame her lover for coming late, but the moon rises too late tonight. This also exposed the secret agreement between the two; He promised to come last month. She only blames the moon for being too late, so he hasn't come yet. Her wishful thinking can be described as "sincere!" Or "gentle and sincere purpose." -this is the second time she looked at her watch.
It's already midnight. The warbler across the street. There seems to be the sound of hooves among the flowers. Embroidery with a smile: gather your hands obliquely to meet the next step.
(4) Welcome Lang into embroidered cymbals, acacia and tie branches. The sideburns are messy, the hair hangs down, and the eyebrows are printed. Yaheng was silent and affectionate, and his delicate hand caressed Lang's skirt.
The meaning of these two words is relatively clear, needless to say. It is particularly obvious that the words with three endings and four beginnings are connected by the same word. "Yaheng", which is not included in the dictionary, describes winking. "Pian Yu's Poems on Flowers": "Being trapped in the phoenix without care, it is difficult to draw with your eyes wide open." Night, four more finished, the following is, of course, five more:
(5) Yuanyang in the account loves each other and hates the sound of chickens. It's dawn Worried about seeing the street, or saying return. After the riding period, "when the plum blossoms bloom, the bright moon is born." (According to Qiangcun Series and Zunqian Collection) [⑦]
Ning He is a great writer, with 20 words in Huajian Collection (Volume 6) and 7 words in Zunqian Collection. "Thirty-three Poems of Yuefu Harmony" contains five poems of joining the army known to Chen. Every poem is five words and four sentences, and the first sentence and the last four sentences rhyme in a flat way, which is quite like the five-character quatrains of later generations. "Le Yuan" says: "The turn of five tables" is the dominant tone. According to the existing literati of the Chen Dynasty (557-589), it can be seen that this song was written by Han people before or after Chen, but the five-character quatrains are too monotonous. After experiencing the prosperous Tang culture, this kind of Han folk tune spread from the 6th century to the 9th century. The poet can sing the content of Wu Geng Biography with another tune, Jiangchengzi. It can also be seen that the processing of folk songs by the poets of the Five Dynasties gradually made them beautiful and perfect, and made great achievements. This has not been noticed by predecessors.
Judging from Dunhuang Quzi Ci, most of its tunes are the same as those handed down from generation to generation, such as Huajianji and Zunqianji, but their writing styles are different because of the notes handed down from generation to generation by the Han people, such as mermaid, Sumo in Su Mu, and Huanxisha in Huanshaxi. For example, in the six poems of Bodhisattva Man, one or two sentences are added to the third, fourth and eighth sentences:
I made a thousand wishes before my pillow: I want to rest until the green hills rot. Fish scales floated on the water until the Yellow River dried up completely. During the day, Beidou returned to the south. You can't stop if you stop, and you will see the sun in the middle of the night [8].
This "Bodhisattva Man" has not got rid of the rough and passionate primitive form of folk songs. But there is no such sentence with different length in Huajianji. Other such unqualified initial works or Han folk tunes include. However, almost the first song in Huajian has been stereotyped and standardized in meter, but it is perfect in the artistry of words. These "poets" have a high artistic accomplishment, and they could have made good poems. Now, they have retouched and rearranged the new folk Yuefu songs of the Han nationality, and inherited the tradition of the previous generation, making them regular and normative, and at the same time, they have created many exemplary new lyrics themselves. -Most of the works we can see in Flowers and Respect are their contributions.
Among the Qu Zi Ci discovered in Dunhuang in the late Tang Dynasty and the Five Dynasties, there are 30 * * Ci poems, which are the middle volumes of Dunhuang Qu Zi Ci compiled by Wang Zhongmin. Most of them have no author's name. It is found that Ouyang Jiong's "More Leaky Length" and "Bodhisattva Man" are in the collection before Zun, and Wen's "More Leaky Length" is in the two collections of Huajian and Jinlin (pages 6, 67-68 of Ci Collection). This is probably handed down naturally, compiled with the works of Dunhuang natives. Interestingly, the collection of Dunhuang Renhua is Yunyao, and the preface of Huajian Collection also says, "Sing Yunyao, and make the words of the golden mother clear." It can be seen that China, from Chengdu in the southwest to Dunhuang in the northwest, has called this new literary variety "Cloud Ballad". However, although the names are the same and the rules are the same, the temperament and style of poets in the north and the south are different after all. As long as the five poems of Jiang quoted above are compared with Bodhisattva Man in Dunhuang, we can see that the two authors are completely different in thoughts, feelings and artistic techniques: the firm, absolute and almost rude determination of the author of Bodhisattva Man is reminiscent of the evil spirits in the Han Dynasty and the Song Dynasty:
Evil, I want to know you, and I want to live a long life. There are no graves in the mountains, the rivers are dry, there is lightning and thunder in winter, rain and snow in summer, and the food of heaven and earth dares to break with you.
Although these two anonymous works are separated by thousands of years, they are so similar in ideological content and even tone, which can not help but remind people of the long-term coexistence of two systems of Han folk poetry in China: the earliest harmony and elegance of the fifteen countries is the song of the north, and the song of the south is the song of the south. After entering the Han Dynasty, 18 rap songs were northern songs. Although Emperor Gaozu was good at Chu Ci, most of the "28 songs and 314 songs" included in Yiwenzhi at that time were northern songs. There are only Four Kings of Linjiang, Fifteen Poems of Runan in Wu Chu and Four Poems of Huainan in the South. Among them, there are "Sound Twists" (music score), 82 of which are also northern songs. After the Wei and Jin Dynasties, songs in the Southern Dynasties became popular, represented by Wu Ge's "New Ode to Yutai" and "Midnight". Under the unification of the Tang Dynasty, a large number of foreign cultures such as Yizhou, Liangzhou and Ganzhou were introduced into China from the northwest. It turns out that after Zhang Qian's voyage to the West in the era of Emperor Wu of the Han Dynasty (the first two centuries), many ethnic minorities in the north who didn't want to be suppressed by Xiongnu tried to get in touch with China in order to protect themselves, so the cultural exchanges and trade between China and the West were very prosperous. However, the isolation of China and China from the Southern and Northern Dynasties for nearly 200 years interrupted the land transportation between the Western Regions and other countries, and it was not until the Tang Dynasty that it was restored. The development of Tang poetry was also influenced by the frontier culture. The most remarkable performance is the rise and development of writing. China, which had long been unified, was divided into several isolated regions at the end of the Tang Dynasty because of separatist regime and civil war. Folk songs and "Poets' Songs" in these areas certainly have their local colors and characteristics. Therefore, the works of Hua Jian, Zunqian and two masters, Nan Tang and Yangchun, are of course from the south. Dunhuang Quzi Ci is a poem in the Northern Song Dynasty.
Poets in the Northern Song Dynasty mainly inherited the traditions of Huajian, respecting modesty and southern Tang works. Southern Tang Ci wins with sorrow, while Western Shu Ci wins with kindness. The integration and development of the two made several people brilliant in the Northern Song Dynasty. The characteristics of "Huajian Ci" include the unique rhymes of some words mentioned in the last article, especially when writing specific stories, such as Wei Zhuang's "The Female Crown":
April 17 is today last year. When you left your husband, you were in tears and your eyebrows were half closed with shame. I've been heartbroken since we broke up last time. Now I can only meet you in my dream. My love, except the moon in the sky, who knows?
The whole song is understood as spoken language, without any rhetoric, and everyone can understand it, but it is not superficial. This seems easy, but in fact it is the most difficult to draw a line. It takes a lot of effort to create such a natural and uncut work.
The word "Huajian" does not fully describe the beautiful scenery or the suffering of lovesickness, but it also retains the singing method of folk songs at that time:
Even ten hectares of lotus fragrance cannot be separated from her sister-in-law's playful and lotus-picking.
It is even younger to take off the red skirt and wrap the duck in a wet bow when the water comes late.
The boat was moving in the lake, and Qiu Guang looked at the young man greedily.
It is a long-heard shame to throw lotus seeds into the water for no reason (Huang Fusong's Lotus Picking). This is a group of lotus picking songs, which consists of two unique songs. If the small words "ju" and "young" at the end of the sentence are removed, it will be an unusual seven-line in the Tang Dynasty. It is conceivable that more than one woman sings this lotus picking song. Probably one person sang a line first, and everyone sang the second sentence of the mezzanine ("Ju" and "Yang") in harmony, but the mezzanine was still sung by everyone. If there are four people, say a word each, and so on. This example illustrates the development process of ci in the early stage of late Tang Dynasty. Zhu believes that ci is composed of five-character and seven-character poems with lining. Huang Fusong's two lotus-picking songs are probably sung with four lines, but the lines are kept. So these two folk songs are a milestone in the history of ci development.
Another example, which is similar at first glance, seems to have different meanings:
There is no bamboo boat on the shore in front of the door, and the daughter is inclined. My daughter is passing through the bamboo river, and her daughter eats bamboo sticks to feed the daughter of God Crow (Sun Guangxian's Bamboo Branches).
This is also a four-line poem, with a mezzanine in the middle, but it is not added at the end of each sentence to cut a sentence into two paragraphs and then insert it into the mezzanine. Besides, unlike the previous example, everyone sings mezzanine, because "Lift" is related to the lotus boat and "Youth" is related to the lotus seed (Reiko Kobayakawa, love you). The words "bamboo branch" and "daughter" in this word are not the same as this four-line poem. But we know that the leader of the Song Dynasty who inherited the Daqu of the Tang Dynasty was called "bamboo pole", which probably evolved from the "bamboo branch" of the Han people. If so, the interlude of this song is not the harmony to be sung, but the symbol to guide the singer: that is, "Spring Water in front of the door" is sung by a heroine (bamboo branches and poles), and the last three words "White Apple Flowers" are sung by other girls. The same is true for the second and third ten days.
From these two examples, we can see that the seven wonders of the Tang Dynasty were first used as lyrics, and sometimes they have to be repeated, such as Wang Wei's "Cheng Wei Qu". Later, the singer felt that repetition didn't change much in timbre, so he added some interlinings. However, it is still too monotonous to adapt to foreign new music tunes, such as Yizhou, Liangzhou, Bodhisattva Man and Su Muzhe. So we have to break or coordinate the neat five-character or seven-character sentence pattern in Tang poetry and change it into long and short sentences with two to seven characters to adapt to the structure and rhythm of music tunes. These traces of evolution are well preserved in Huajianji.
Following Huajianji, there were 367 poems in Caotang from the Five Dynasties to the Northern Song Dynasty and the Southern Song Dynasty. Because these two books are representative, later works of Ci poetry are mostly named after flowers and plants, such as Chen's Flower Picking Record of Nazi Party and Chen's Flower Picking Record of Ming Dynasty.
[1] There are thirty-one poems in Zungan Collection by Ouyang Jiong, but none in Huajian Collection.
[2] There is a poem "Song Tou" with the word "kloc-0/36" handed down from generation to generation, which was written by Zhuang Zong. It seems to be non-original, and it is suspected that later generations have strayed into the collection, because most of the works collected in "Zun Qian Ji" are poems with less alto. Judging from the word itself, it is not written by the Tang people, but like a work by Liu Yong, "Throwing Balls".
[3] Bai Juyi's "Drinking with Dreams and Consent": "Elegant, poor history, drunk listening to Yin Qingsheng orchestral." It is known that if there were no singers, literati would "order" to drink by themselves, or compete with the Chinese language in history to win each other. For example, Yi Lee Ann and Zhao Mingcheng bet on the secretary's book to drink tea, and the wine sequence in A Dream of Red Mansions still has this legacy.
[4] See my book Imagination in Reading Words.
[5] I have discussed this issue in the article "Five-character Poetry Begins with Women's Literature", so I won't go into details.
[6] Such as Bodhisattva Honey, Yu Meiren and Xinyi.
⑦ "Five Tones" is one of the most popular minor of Han nationality in the south of the Yangtze River. Until the beginning of this century, you can still listen to and sing Five Acacia in the streets. Xiang Lian's sigh in Yin Qing Quci is also a pentatonic tone. Another publishing house: A Preliminary Study of Dunhuang Music by Ren Erbei; On the varieties of Buddhist songs and folk songs in Biography of the Wugeng (May 4th page). Jiang Liangfu's Dunhuang-Great Cultural Treasure also mentioned "singing with ditty" (page 1 17). However, neither of these two books recorded any specific songs in order to compare them with those in other places.
[8] The original text was mistaken as "the head of the moon", which is corrected today. The word "the end of the moon" is not commonly used.