SADNESS AS THE

PRIMARY VALUE IN MUSIC

Those who understand music takepleas ure in it and are moved to sadness, while those who do not understand music marvel at it and findit impressive. - Bao (firstc. B.c.), "Rhapsodyon the Flute"

During the Han and Six Dynasties periods, musical performances were thought to be superior when they evoked sadness (bei �J;.), and listeners were likewise judged to be connoisseurs of music when they were able to react with sadness, as we can see in these remarks by Wang Bao. Ming- and Qing-dynastyscholars have already treated this subject, citing various early sources. In his essay on "Ancient and Modern Music," Yang Shen (1488-1559) quotes passages fromHuainanzi and fromRuanJi's (210-263) "Exposition on Music" that associate music with sadness as antecedents to the assertion made by Zhou Dunyi (1017-1073) that contempo­ rary music should better conformto this ideal.1 Similarly, in his discussion of joy and sorrow in ancient music, Lu W enchao (1717-1796) quotes passages fromHan Feizi, Records of the Grand Historian, Wang Cheng's (27-91) Disquisitions (citing three different chapters), Ruan Ji's exposition, Lu Ji's (261-303) "Rhapsody on Literature," "The Nineteen Ancient Poems," Wang Can's (177-217) "Poem on the Ducal Feast," and Pan Ye's ( d. 300) "Poem on the Golden Valley Collection" to identifythis ideal.2 In his quotations, Lu has already conveyed the essentials of the subject, yet his discussion is not as tightly constructed as it might be. For ex­ ample, his reference to ' s Disquisitions neglects to cite this relevant passage in that work: "Women who adorn their faces do so to make themselves beautiful,but fewamong them succeed in turning people's eyes. Those who learn to play music try to make it sad, but few of them succeed in startling people's 68 (!g SADNESS AS THE PRIMARY VALUE IN MUSIC

ears."3 Here below I shall return to the subject one more time, hoping to add a few points to previous treatments. In addition to those listed above, the earliest sources include the following: The "Record of Music" in The Book of Rites says, "The sound of strings is sorrow­ ful," which Zheng Xuan's (I27-20o) commentary explains by saying, '"Sorrowful' (ai-R) means embittered. The classic means that the music has a demure man­ ner, and so it is said to be sorrowful and embittered."4 In their remarks on zithers, both Wenzi and observe, "a solitary string cannot make sad music."5 The Master of Ghost Valley says, "A melody without harmony is not sad."6 's (78-I39) "Southern Capital Rhapsody" says:

Musicians strum their zithers and finger their pipes, the sound of their flowing melodies lingers in the air. As the dear jue mode changes to zhi, the listeners grow ever more sor­ rowful. ... Strumming the zither, blowing the flute, they perform one after another fresh tune. A widow hums sadly. A large fowl gives sorrowful cries. The listeners heave sullen sighs, their souls are shaken, their spirits injured?

Cai Yong's (I33-I92) "Rhapsody on a Zither" says, "Then the sorrowful notes is- sue forth, and the ineffable music begins .... One note elicits three sighs, creating a melancholy mood with lingering sorrow.... Men in sorrow cover their ears for the grie£ while hitched horses stomp their feet for their sad whinnying."8 Fan Qin's (d. 218) report to Emperor Wen of the Wei dynasty says, "At the time Chezi was just fourteen years old. He was able to produce sounds from his throat that sounded just like those of a reed flute .... His breath circulated inside him and then flowed forth in sorrowful notes .... Sullen feelings entered each lis- tener's liver and spleen; sorrow moved the dull and exquisite alike .... Those who sat nearby looked at him and sighed, while those who heard from afar bent their heads to listen. Everyone wept and sobbed, overcome with sadness and deep feelings." 9 Xi Kang' s ( 223-262) "Rhapsody on the Zither" says, "The various types of musical instruments as well as the many manifestations of song and dance are topics that talented scholars through the ages have celebrated in rhapsodies and rhymed verse .... Describing the materials from which the instruments are made, those that grow in precipitous and harsh environments are said to be best. On the quality of sound produced, that which is sad and sorrowful is the ideal. As for the emotional effect upon the listener, that which causes tears to be shed is the most highly valued."10 Three passages in the "Treatise on Music" in The Sui Dynasty History (seventh c.) warrant particular attention. The first tells of how the infamous last emperor of the Chen "had such songs as The Yellow Oriole Lingers,' 'Blossoms on the Jade Tree in the Rear Courtyard,' and 'Gold Hairpins Dangling over Shoulders' composed.... The lyrics became ever more ornate and gorgeous, and grew ex­ ceedingly wanton and frivolous. Boys and girls sang back and forth, their voices