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THE SAN-QU of MA ZHI-YUAN by LOUISE YI

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THE SAN-QU of MA ZHI-YUAN by LOUISE YI THE SAN-QU OF MA ZHI-YUAN by LOUISE YI-SHU^W B.A., University of British Columbia, 1975 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Asian Studies) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA Feb., 1978 ©, Louise Yi-shu Law, 1978 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of • The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date K ii Abstract This thesis is concerned primarily with the investigation of the thematic content and the stylistic elements that underlie the san-qu verse of the most anc distinguished Yuan san-qu poet, Ma Zhi-yuan v^7 ^C^L_ ' ^ secondly with a study of his life. There are three main divisions in this thesis. The first chapter provides a biographical account of his life, relying chiefly upon Zhong Si-cheng's i>i^ records in the Lu-gui bu J^TJC J^, , and the apparently "autobiographical" contents of some of Ma's san-qu. It allso gives a brief introduction to the rise of Yuan san-qu, and the particular political and social milieu of this dark period of alien rule which, to a considerable extent, influenced the personal "escapist" philosophy of Ma, as well as the Yuan intellectual climate as a whole. The various Yuan, Ming and Qing anthologies which contain Ma's san-qu and the related issue of authentic authorship will also be discussed. In the second chapter, motives which recur frequently in Ma's san-qu - those of ubi sunt, the equation of life to a dream, fatalism, disillusionment with officialdom, fame, power and wealth, reclusion, carpe diem, oblivousness, and the attraction towards the supernatural - which represent Ma's personal philosophy, will be examined. The multiplicity of subject matter, tone and mood which characterizes Ma's poems, expressed in either the lyrical, descriptive or narrative mode, and embracing such polarities as the beautiful and the ugly, the elevated and the iii mundane, the private and public, the contented and the sarcastic, the lighthearted and the serious, the humorous and pathetic, the subtle and the garish will be included in this division. The third chapter, which explores the poetic language of Ma Zhi-yuan, is sub• divided into the sections of diction, syntax and parallelism^images, versification and sound. In the first section, the wide spectrum of his diction - from colloquial• ism and prose-like diction to allusion and quotation - is noted, while his constant repetition and reduplication of words, and his inclination towards the use of certain words will also be examined. The second section of this chapter deals with some syntactic arrangements in Ma's san-qu that are of interest, such as his use of incomplete, composite and ambiguous lines, as well as kinds of parallel lines that he uses, the effects they achieve, and the context in which san-qu parallelism occurs. The third section focuses on the images that appear in Ma's san-qu. It includes the sources from which his images are drawn ,t the various functions of these images, such as for scene-setting, symbolizing, evoking emotions and creating sensory impact, and the different techniques of his compound images, such as juxtaposition, explicit and implicit comparison, substitution and transference. The fourth section of this chapter examines the sound elements of Ma's san- qu. It provides first an introduction of the prosody of Yuan san-qu and then the versification of Ma's poems which shows both his conformity to the peculiar features of the san-qu genre, as well as his skilful mastery of sound. Next, some sound iv devices that Ma employs,i such as internal rhyme, alliteration, reduplication and repetition of words, and onomatopoeia will be inspected. Finally, the overall achievement and contributions of Ma as a san-qu lyricist are evaluated, based on comments from both past and modern critics, and from evidence that arises out of the investigation in this thesis. Despite dissenting views that undermine his significance, the conclusion here still inclines to favor his foremost prominence as a san-qu poet. Table of Contents The San-qu of Ma Zhi-yuan Introduction 1 Chapter One: The Biography of Ma Zhi-yuan and the Historical Milieu for Yuan San-qu 3 A. Biographical Sketches of Ma Zhi-yuan 4 1. Lu-gu? bu's Account of Ma Zhi-yuan 4 2. Names 5 3. Native Place 6 4. Birth and Death Dates 8 5. Degrees 12 6.. Official Post 13 7. Contemporaries 15 8. Private Life and Temperament 17 9. Other Ma Zhi-yuans /22 10. Works - Plays and san-qu, and Problems of Dubious Authorship 226 B. Literary, Political and Social Milieu for Yuan San-qu 31 1. The Rise of San-qu 31 2. The Political and Social Milieu that Accounts for the "Negative" Contents in San-qu 34 vi Footnotes 38 Chapter Two: The Themes of Ma Zhi-yuan's San-qu 51 A. Recurrent Motives Representing Ma's Philosophy 51 1. Ubi Sunt 52 2. Life as a Dream 62 3. Fatalism 66 4. Disillusionment in Officialdom, Fame, Power and Wealth 73 5. Reclusion 79 6. Carpe Diem 88 7. Obliviousness 91 8. The Attraction Towards the Supernatural 94 9. Inconsistencies 96 B. Diversity of Subject Matter and Tone 99 1. Lyrical Poems 100 2. Descriptive Poems 109 3. Narrative Poems 120 4. Summary 127 Footnotes 130 Chapter Three: Ma Zhi-yuan's Poetic Language 140 A. Diction 141 vii 1. Naturalness to Refinement: Colloquialism, Allusion, Quotation and Prose-Like Diction 141 a. Colloquialism 142 b. Allusion and Quotation 147 c. Prose-Like Diction 152 2. Repetition of Words 153 a. Reduplicated Wo:rds 153 b. Repetition of Same Word in the Same Line 155 c. Repetition of Same Word in the Same Xiao-ling or Tao-shu 157 3. The Use of Favorite Words 158 B. Syntax and Parallelism 159 1. Syntax 159 a. Incomplete Lines 159 b. Composite Lines 161 c. Ambiguous Lines 162 2. Parallelism 165 a. Parallelism aim" Yuan San-qu 165 b. Some Effects of Parallelism 166 c. Kinds of Parallelism and Repetition 168 C. Images 176 1. Sources of Images 177 viii a. Natural World 177 b. Human World 178 cs Supernatural World 179 2. Functions of Images 180 a. Scene-Setting 180 b. Symbols 181 c. Evoking Emotions 182 d. Sensory Impact 188 3. The Different Techniques of Compound Images 191 a. Juxtaposition 192 b. Explicit Comparison 194 c. Implicit Comparison 195 d. Substitution 196 e. Transference 198 D. Versification and Sound 201 1. Prosody of San-qu 201 2. Reduction of Lines 204 3. Line Length and Rhythmic Pattern 205 4. Tonal Pattern 208 5. Rhyme 210 a. End Rhyme 210 b. Feminine Rhyme, Rhyming Compound and ix Internal Rhyme 215 6. Other Sound Devices 219 a. Alliteration 219 b. Reduplication and Repetition of Words 222 c. Onomatopoeia 224 Footnotes 226 Conclusion 237 Footnotes 243 Bibliography 245 Appendix 270 X I Acknowledgement I express my sincere gratitude to Prof. J.W. Walls for his careful guidance, constructive suggestions, helpful insights and encouragement while supervising me in the writing of this thesis, and to Prof. Chao Yeh Chia-ying who has read through the entire draft and has greatly assisted me not only in the understanding of Ma Zhi-yuan's lyrics, but in the appreciation of Chinese poetry as a whole. I am also much thankful to Prof. E.G. Pulleyblank who has given me such useful advice in the section dealing with sound. To my parents, I am grateful tremen• dously for their moral support throughout. I also thank all those friends whose discussion with me on topics related to this thesis has proved to be stimulating. Last but not least, I am much indebted to Mrs. Lucia Ho who has so patiently and kindly typed out the entire thesis for me. 1 Introduction As a san-qu lyricist, Ma Zhi-yuan - is the most eminent. However, relatively little systematic research has been done on the san-qu genre in the past, and still less on the san-qu of Ma in its entirety. Avoiding the traditional approach which dwells mainly on the music or sound aspect of the san-qu, I have attempted to provide a structural analytical approach in the examination of both the theme and technique of Ma's san-qu, a treatment which has been overdue, considering the tremendous significance and impact of Ma as a san-qu poet. This structural analysis embraces a dissection of the recurrent motives of Ma's san-qu which represent his philosophy, the diversity of tone and mood which is concomitant with the variegation of his subject matter, and an examination of the ejements of diction, syntax, parallelism, imagery and sound which eonstitufe what may be described as Ma's poetic language. While some of these aspects may be regarded as characteristic of Ma's style, such as his versatility in mood and levels of expression, others are to be recognized as features common to the san-qu, such as the accomodation of colloquialism and the constant use of reduplication, still others to be accepted as universal, trans• cending time and space, such as the ideas of ubi sunt and fatalism that underline so many of his san-qu.
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