Love is of source unknown, yet it grows ever deeper. The living may die of it, by its power the dead live again. Love is not love at its fullest if one who lives is unwilling to die for it, or if it cannot restore to life one who has so died. And must the love that comes in dream necessarily be unreal? For there is no lack of dream lovers in this world. Only for those whose love must be fulfilled on the pillow and for whom affection deepens only after retirement from office, is it entirely a corporeal matter . . . . Introduction Has the world ever seen a woman's love to rival that of Bridal Du? Dreaming of a lover she fell sick; once sick she became ever worse; and finally, after painting her own portrait as a legacy to the world, she died. Dead for three years, still she was able to live again when in the dark underworld her quest for the object of her dream was fulfilled. To be as Bridal Du is truly to have known love. PL2695.M8E5 1980 895.1'24 799631 ISBN 0253357233 1 2 3 4 5 84 83 82 81 80 The jacket illustration and the frontispiece are photocopies of two of the woodblock prints used to illustrate an abridged version of the play under its alternate title Huan hun ji ("The Return of the Soul") printed in 1618, two years after the dramatist's death, and now rare. The abridgement, by Zang Mouxun, was included in a collection of four of Tang Xianzu's plays under the title Yuming xinci sizhong published by the firm of Diaochongguan. (Photocopies courtesy East Asiatic Library, University of California, Berkeley) (Chinese literature in translation) Play. Manufactured in the United States of America Library of Congress Cataloging in Publication Data Tang Xianzu 15501616. Copyright © 1980 by Cyril Birch All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses' Resolution on Permissions constitutes the only exception to this prohibition. This book was brought to publication with the assistance of a grant from the Andrew W. Mellon Foundation. The Peony Pavilion (Mudan Ting) Tang Xianzu Translated by Cyril Birch Reckless O soul, exploring, I with thee, and thou with me,įor we are bound where mariner has not yet dared to go,Īnd we will risk the ship, ourselves and all.Page ii CHINESE LITERATURE IN TRANSLATIONĮditors Irving Yucheng Lo Joseph S. M. Lau Leo Oufan Lee Sail forth-steer for the deep waters only, I hope you can join us on our MUSICAL JOURNEY of this season! Other compositions on our 61st Season opening concerts are:įour Sea Interludes and Passacaglia from Peter Grimes by Benjamin Britten. Tonight the Huntsville Community Chorus and the Huntsville Symphony Orchestra with the help of vocal soloists Tiffany Bostic-Brown and Terrance Brown will celebrate the human spirit and the power of live classical music with the Huntsville premiere performance of A Sea Symphony by Vaughan Williams. I have to praise his openness and his imagination in selecting parts of Whitman’s work for the first, and longest of his 9 symphonies. Apparently Vaughan Williams carried a copy of Leaves of Grass with him at all times.
#Sail forth steer for the deep waters only poem free#
Suspicious at best! 🙂 I find it interesting how a young English composer picks a collection of poems by an American poet written in (mostly) free verse to put into music. Indeed, Leaves of Grass praises nature and the individual(!) human’s role in it and elevates the human form and mind to the level of topic of poetic praise. Just 20 years after it was deemed “obscene literature” by Boston district attorney, Oliver Stevens on March 1, 1882, Leaves of Grass by Walt Whitman became the inspiration for Ralph Vaughan Williams’ Symphony No.1, A Sea Symphony.
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