CHAPTER EIGHT The Master of Song and Drama

The Role and Influence of Li Kaixian Sir Yuan Xiye [hao of Yuan Chongmian] from Zhangqiu, in his spare time from plowing and hoeing the fields, and with his fine possession of talent, knowledge, and insight, forms a [here referring to ] club with a few other gentlemen all from the same village as him. As they leave each meeting, they distribute the topics for writing; when they meet, they criticize the songs they composed. All the songs are selected and judged by the grand chief minis- ter of the Court of Imperial Sacrifices, Sir Li Zhonglu [hao of Li Kaixian], and must take the works of Yuan writers as the standard. 乃章丘西埜袁先生以耕耨之暇，負三長之美，與邑之二三君子，結為 詞會。退則分題，晤則課詞，咸取裁于大奉常中麓李先生，務以元人 之作為準焉。1 This preface for Yuan Chongmian’s xiaoling collection contains some interesting details on how qu writing was carried out in the Fuwentang. The works of qu writers were regarded as the standard for the club members. More important, someone well respected within the qu community was in charge of upholding and carrying out that standard. This task fell to Li Kaixian, who, according to the preface, played the role of a literary arbiter and judged the quality of the songs written. ————— 1. Liu Shiwei, “Yuan yinjun xiaoling xu” 袁隱君小令序, in idem, Houxi wen’gao, 2a–3a. 228 The Master of Song and Drama

As in the case of Wang Jiusi and Kang Hai, the qu community around Li Kaixian and most of the activities within it were visible and preserved only through the writings of the major qu writer and leader. On the local level, Li Kaixian was very active in the production of qu writings by his close acquaintances, playing multiple roles as compiler, printer, and commentator. For example, as we observed above, he col- lected the sanqu writings of fellow members such as Qiao Dai and also printed a collection of sanqu by Yuan Chongmian.2 Almost all the qu writings produced in this community, whether printed by Li Kaixian himself or by his students, guests, or friends, were prefaced by him, a reflection of his standing in the contemporary world of qu writing. Moreover, his citation of songs by members of his qu community, such as Yuan Chongmian, Zhang Zishen, and others, in Cixue is in many cases our only source for these songs.3 Thus, Li is in- deed a signpost to our exploration of the writers around him and the songs produced in his community. What accounts for the difference between an ordinary qu writer and a qu leader? Li Kaixian became interested in qu and had started writing sanqu early on, long before his success in the national examinations, but his influence on local qu activities was minimal. When Li returned to Zhangqiu after his retirement, however, that situation changed. Li be- came an influential local figure and led an affluent life in his home vil- lage, where he built no fewer than twenty-seven mansions, halls, and courtyards.4 When Li once again participated actively in qu activities, he immediately became the leader. Nothing suggests that Li Kaixian’s tal- ents changed drastically between these two periods. Rather, his new status and wealth now provided a platform for Li to play a leadership role in qu activities. Being a cultural leader and a master of songs and drama also gave Li Kaixian the opportunity to become a major patron of qu during his re-

————— 2. Li Kaixian, “Xiye Chunyouci xu” 西野《春遊詞》序, LKXQJ, 494–95. 3. For Yuan, see Li Kaixian, Cixue, 275, 290–91, later included in QMSQ, 1346–47. For Zhang, see Li, Cixue, 290, later included in QMSQ, 2125. 4. All these were recorded by Li in his numerous prose pieces on these buildings. See especially the section of ji 記 in juan 11 of his literary collection. See also the list of buildings in Niu et al., Li Kaixian nianpu, 37–41.