tag:blogger.com,1999:blog-70615344895304601132024-03-13T10:48:11.972+08:00Music and Arts : 音樂與藝術In addition to publish David Leung's (theorydavid, or Leung Sir) teaching, and musical activities, the blog Music and Arts:音樂與藝術 is also used to reflect his ideas of and aesthetic respones to music, literature, poetry, painting,and various arts written in the form of articles, poems, and academic papers.Your heartfelt responses are my great support. For those who are interested in advance music learning, please also visit my personal website: http://www.davidmusiccenter.com/。theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.comBlogger129125tag:blogger.com,1999:blog-7061534489530460113.post-5577494174387683212023-01-04T15:22:00.004+08:002023-01-04T17:37:57.137+08:00<p style="text-align: center;"><b><span style="color: #2b00fe; font-size: large;">David Music Center</span></b></p><p style="text-align: center;"><b><span style="color: #2b00fe; font-size: large;">New Courses in 2023-2034</span></b></p><p style="text-align: center;"><span style="color: #2b00fe; font-size: large;"><b>http://www.davidmusiccenter.com/</b></span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;"><br /></span></p><p class="MsoNormal"><span style="font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">最新消息:</span><span lang="EN-US"><o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US"> </span></p><p class="MsoNormal"><span lang="EN-US">2023-2024</span><span style="font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">年度樂理作曲課程(面授或</span><span lang="EN-US">zoom</span><span style="font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">網上皆可)</span><span lang="EN-US"><o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US"> </span></p><p class="MsoNormal"><span style="font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">本中心所有課程會按照</span><span lang="EN-US">2023-2024</span><span style="font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">的考試範圍編寫。</span><span lang="EN-US"><o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US"> </span></p><p class="MsoNormal"><span style="font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">學員可以參與聖三一樂理文憑試考試,又或倫敦大學(西倫敦)樂理或作曲文憑試(流行或古典風格皆可)</span><span lang="EN-US"><o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US"> </span></p><p class="MsoNormal"><span style="font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">本音樂中心提供各學院初、高級音樂理論與作曲文憑試課程如下:</span><span lang="EN-US"><o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US"> </span></p><p class="MsoNormal"><span style="font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">流行音樂樂理八級課程</span>
<span lang="EN-US">(Popular Music Theory Grade 8)<o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US">ALCM</span><span style="font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">,</span><span lang="EN-US">LLCM (composition portfolio)<o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US">AMusLCM<o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US">LMusLCM<o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US">AMusTCL <o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US">LMusTCL<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">流行音樂的作曲與編曲</span><span lang="EN-US"><o:p></o:p></span></p><p class="MsoNormal"><span style="font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">流行曲的歌詞與作曲原理</span><span lang="EN-US"><o:p></o:p></span></p><p class="MsoNormal"><span style="font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">爵士音樂理論與和聲原理</span><span lang="EN-US"><o:p></o:p></span></p><p class="MsoNormal"><span style="font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">樂隊的配器與編寫原理</span><span lang="EN-US"><o:p></o:p></span></p><p class="MsoNormal">
</p><p class="MsoNormal"><span style="font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">電影與電玩的音樂編寫原理</span><span lang="EN-US"><o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;"><br /></span></p><p class="MsoNormal"><br /></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;">2023-2024 New Courses
<o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;">To students and
colleagues, <o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US"> </span></p><p class="MsoNormal" style="mso-char-indent-count: .5; text-indent: 6pt;"><span lang="EN-US" style="color: #7030a0;">David Music Center is going to offer some New
Courses to suit the new diplomatic examination syllabus of Trinity College,
London, as well as London University of Music (West London). The Music Theory
and Composition courses are listed as follows:<o:p></o:p></span></p><p class="MsoNormal" style="mso-char-indent-count: .5; text-indent: 6pt;"><span lang="EN-US" style="color: #7030a0;"> <o:p></o:p></span></p><p class="MsoNormal" style="margin-left: 12pt; mso-char-indent-count: -1.0; text-indent: -12pt;"><span lang="EN-US" style="color: #7030a0;">01. LMusTCL Preparatory Course
Unit (Part B-II): The Development of Piano Music and Literature in Historical
Context <o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;">02. LMusTCL
Preparatory Course Unit (Part A-Ia): Writing String Quartet <o:p></o:p></span></p><p class="MsoNormal" style="margin-left: 12pt; mso-char-indent-count: -1.0; text-indent: -12pt;"><span lang="EN-US" style="color: #7030a0;">03. LMusTCL Preparatory Course
Unit (Part A Ib): Writing Piano Variations in Romantic Style <o:p></o:p></span></p><p class="MsoNormal" style="margin-left: 12pt; mso-char-indent-count: -1.0; text-indent: -12pt;"><span lang="EN-US" style="color: #7030a0;">04. LMusTCL Preparatory Course
Unit (Part A-II): The Study of Musical Styles in Various Historical Period <o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;">05. LMusTCL Set Piece
Analysis Unit (Part B-I): The Study of Liszt Piano Sonata no. 3 <o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;">06. AMusTCL Extensive
Preparatory Course (based on new syllabus and set piece) <o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;">07. Music
Composition: Contrapuntal Techniques <o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;">08. Advance Analysis:
Introduction to Schenkerian Theory <o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;">09. Composing for
Film and Moving Images<o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;">10. Orchestration
Techniques <o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;">11. Writing Pop and
Film music <o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;">12. LMusTCL
Pre-Preparatory Unit: Advance Harmonic Analysis in Tonal Practice<o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;">13. Popular Music Theory
Grade 1 – 8<o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;">14. </span><span style="color: #7030a0; font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">歌曲歌詞創作原理</span><span lang="EN-US" style="color: #7030a0;"><o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;">15. </span><span style="color: #7030a0; font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">樂隊合奏的配器與編寫原理</span><span lang="EN-US" style="color: #7030a0;"><o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;">16. </span><span style="color: #7030a0; font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">流行音樂的作曲配樂原理</span><span lang="EN-US" style="color: #7030a0;"><o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;">17. </span><span style="color: #7030a0; font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">爵士音樂理論與和聲原理</span><span lang="EN-US" style="color: #7030a0;"><o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;">18. </span><span style="color: #7030a0; font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">電影音樂編寫的創作原理</span><span lang="EN-US" style="color: #7030a0;"> - </span><span style="color: #7030a0; font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">理論</span><span style="color: #7030a0;"> </span><span style="color: #7030a0; font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">技巧</span><span style="color: #7030a0;"> </span><span style="color: #7030a0; font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">美學</span><span lang="EN-US" style="color: #7030a0;"><o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;"> </span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;"> Friends, students,and colleagues are welcome
to email to me for further details of the courses. All timeslots of the courses
are flexible. Students can choose either study in face-to-face mode or online
zoom/skype mode. Please suggest any timeslots for the above studies. Also
please do not hesitate to contact me for further details of the study plan
through email. Thank You.<o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;"> http://www.davidmusiccenter.com/</span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;">Regards, <o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;"> </span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;">David Leung (Leung
Sir) <o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;"> </span></p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;">PhD (Musicology,
Candidacy), MPhil (Musicology), MPhil (Music Theory), BMus 1st Hon (Composition
and Electronic Music, LRSM (Theory), LTCL (Composition)<o:p></o:p></span></p><p>
</p><p class="MsoNormal"><span lang="EN-US" style="color: #7030a0;">HKU, CUHK, HKAPA<o:p></o:p></span></p>theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.com0tag:blogger.com,1999:blog-7061534489530460113.post-64767274236585234412022-11-11T15:21:00.051+08:002022-11-11T20:31:52.747+08:00<p> </p><p class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><b><span style="color: #7030a0; font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-size: 12.0pt; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">憶記摯友寶賢兄:吾與君相識接近叁十年,可說是吾之良師益友。知君與病魔抖纏,幾近廿載,仍含辛而緊守真理,堪稱基督徒「戰士」,無愧矣!今聞君終走完應行之窄路,得以解脫身心之苦痛。吾難奈之餘,仍感安慰。惟望君能留在耶和華的生命冊上,當那日來到,聽到呼喚,再站起來!</span></b><b><span lang="EN-US" style="color: #7030a0; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></b></p><p class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><b><span style="color: #7030a0; font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-size: 12.0pt; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">人生來如春夢,去如朝露。遂寫下這首詩以茲懷念。</span></b><b><span lang="EN-US" style="color: #7030a0; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></b></p><p class="MsoNormal"><b><span lang="EN-US" style="color: #7030a0; mso-bidi-font-size: 12.0pt;"> </span></b></p><p>
</p><p align="center" class="MsoNormal" style="text-align: center;"><b><span style="color: #0070c0; font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-size: 12.0pt; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">梁大偉書於</span></b><b><span lang="EN-US" style="color: #0070c0; mso-bidi-font-size: 12.0pt;"> 2022</span></b><b><span style="color: #0070c0; font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-size: 12.0pt; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">年</span></b><b><span style="color: #0070c0; mso-bidi-font-size: 12.0pt;"> <span lang="EN-US">11</span></span></b><b><span style="color: #0070c0; font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-size: 12.0pt; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">月</span></b><b><span lang="EN-US" style="color: #0070c0; mso-bidi-font-size: 12.0pt;">11</span></b><b><span style="color: #0070c0; font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-size: 12.0pt; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">日</span></b><b><span style="color: #0070c0; mso-bidi-font-size: 12.0pt;"> </span></b><b><span style="color: #0070c0; font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-size: 12.0pt; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">正午書閣</span></b></p><p align="center" class="MsoNormal" style="text-align: center;"><b><span style="color: #0070c0; font-family: "PMingLiU",serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-size: 12.0pt; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><br /></span></b></p><div class="separator" style="clear: both; text-align: left;"><br /></div><br /><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisPhbK--5adhSVREWbFaCRB1OQy7zDpW2x2MaDYg7ZzA6kD3EjthmKgYFk1feg2N9xXzgZWpyLxphvEILX7hr8tCSiW41OOnhdgWtxXdYm366Y_OQy1up8-q3D3TMGtHftgEjYlkaZd-2xLUyJ5PpR5tw-Zft_pBJxuGlje1FXDIRcwGEjSIoRTQNE/s2339/%E8%81%9E%E5%99%A9%E8%80%97-%E6%86%B6%E5%8F%8B.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1654" data-original-width="2339" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisPhbK--5adhSVREWbFaCRB1OQy7zDpW2x2MaDYg7ZzA6kD3EjthmKgYFk1feg2N9xXzgZWpyLxphvEILX7hr8tCSiW41OOnhdgWtxXdYm366Y_OQy1up8-q3D3TMGtHftgEjYlkaZd-2xLUyJ5PpR5tw-Zft_pBJxuGlje1FXDIRcwGEjSIoRTQNE/w393-h277/%E8%81%9E%E5%99%A9%E8%80%97-%E6%86%B6%E5%8F%8B.jpg" width="393" /></a></div><br /><div class="separator" style="clear: both; text-align: left;"><br /></div><br /></div><br /><br /><p class="MsoNormal" style="text-align: left;"><br /></p>theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.com0tag:blogger.com,1999:blog-7061534489530460113.post-8563019120741982792017-06-24T02:44:00.003+08:002017-06-27T23:43:20.568+08:00應邀試評盧冠廷的 "但願人長久"前言:<br />
<br />
有舊中學學友,閒談中提及唐書琛填詞,盧冠廷作曲主唱的歌曲 "陪著妳走", 最近因電視台翻唱而大熱,而這首歌也是令人聽得甜絲絲的。舊學友也說另一首歌 "但願人長久" 亦很好聽,旋律流暢。問吾有沒有評論過此歌詞,歌詞怎看?<br />
<br />
回顧七,八十年代的香港流行曲,真的是首首精品,雖不乏進口日本流行曲調,並套上粵語歌詞發行,其中不少仍是曲詞俱佳,使人至今還津津樂道。<br />
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吾當時乃半個圈中人,雖然才情學識有限,但也很熟悉這時期的歌曲歌詞。<br />
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既是閒聊中舊學友提及,吾就翻看這首歌曲的歌詞,試試找出有沒有可供討論的論點。要知寫歌詞評論,有兩點基礎必先建立。第一是看看歌詞本身有沒有可供討論的論題 (argument),例如是歌詞有沒有修辭病句,意思不通的句子,或主題不清等; 第二是看看有沒有適合的文學分析理論,拿來詮析 (interpret) 歌詞的主題意念,感情世界,寫作技巧等。<br />
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"但願人長久" 的旋律,顯淺易唱,而歌詞則保持唐書琛的風格,皆是易記,易唱,易明。全詞環繞著 "但願人長久" 這個主題。實是乎合流行曲歌詞所需條件。<br />
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那有甚麼可以評論呢?<br />
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正文:<br />
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我們試比較唐書琛寫的 "陪著妳走" 和 這首 "但願人長久",不難發現,唐書琛的中文寫作進步了很多。這首歌的詞沒有前者的病句,也沒有甚麼修辭上的 "Problem"。所以,實是沒甚麼可談。但任何藝術評論,都需要 "problematize" 所評論的 object (對象),從而 "create", 製造出一些 "issue",論題來。怎辦?<br />
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這首歌的曲名是 "但願人長久" ,喚起了起我們穌軾的 "水調歌頭" 的結尾句子。所以主題很清楚,也是寫夜裡對月或星懷人。相信所懷念的對象是詞人的摯愛吧。<br />
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這裡我們也不難發現唐書琛用了很多筆觸點出了夜,星,光輝等外在景物的意象, 去襯托出 "人不在,但星月光輝卻常在" 的情懷。<br />
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讓我們看看第一,二段:<br />
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意象如: 夜闌,每夜,天涯星,繁星,長照耀,星閃照,每夜常在。<br />
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再讓我們看看副歌:<br />
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意象如: 漫長夜,晚星,光輝,星閃照,漆黑漫長夜。<br />
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仔細分析,全詞重覆的意象很多,好處是易記易明,但很明顯的弱點是歌詞含意載量很低,這導致句子群的意思也頗重覆。<br />
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評論歌詞優劣的其中一個評論標準是和歌詞的載量有關。<br />
當然,吾在這裡必需明正指出,這只是其中一個可供聽者衡量的標準,不是唯一的量尺。<br />
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因現在一般賞詞的聽眾,也頗多是盲目的,感情用事的,不用邏輯推理的。對他們來說,彷彿是 "只要是我鐘愛的,一切佳好"。其實意思往往就是: "我感覺良好,所以無問題。"<br />
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吾為避免五毛的非理性彈核,所以格外申明這點。<br />
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這項評詞標準就是 -- 好的歌詞出須是: "句無閒字,段無閒句,篇無閒段。歌詞意思可以用一句去表達的話,千萬不要用兩句。" 這就是說,寫多了重覆意思的文字句子,不是加強,而是累贅。無論寫文寫詩或歌詞,這個標準都可以應用。就以類似這個主題和情感世界的另一首古詞,穌軾的 "水調歌頭" 來作比較,聽眾就不難明白到何為詞意密度。<br />
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"月月幾時有,把酒問青天"。<br />
詞人從飲酒,心意飛到天上宮闕這個意象,再以 "高處不勝寒" 暗喻仕途艱險,寧願 "起舞弄清影,何似在人間" 去表白詞人嚮往被放逐那自由自在之心境。<br />
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意象由天落地,轉到無眠的詞人倚在窗前的情景,再回到千里共嬋娟 (月) 的天空意象去表達那懷念身處遙遠之地的兄弟之情。當中還點出了世事無常,人有悲歡離合,月有陰晴圓缺的人生哲理。<br />
聽眾只一比較,當了解甚麼才是 "句無閒字,段無閒句,篇無閒段" 的意思。<br />
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以此標準衡量,"但願人長久" 的歌詞含意的密度是低了一點。尚待改善。<br />
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再者,在這首詞的意象重覆,每段句子也沒甚麼新意的情況之下,亦使我想起國學大師王國維 "人間詞話"中談及的 "隔" 與 "不 隔" 的問題。當然,王國維的理論主要是探討舊詩詞。因舊詩詞愛以典故喻意。所以,靜安先生的 "隔與不隔" 論,是以詩詞能否清楚表達感情有關。詩詞如是 "隔", 則看詩像 "霧裡看花" ,怎看也不清。但如詩是 "不隔",其詩必是 "語語都在目前"的了。現用靜安先生標準,唐書琛的歌詞是屬 "不隔",清淅異常。可是意景也實是太 "顯" 了,少了一份中國詩詞要求的婉轉含蓄之美。<br />
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原來中國詩詞的美學特質,在於 "隱" "顯" 得宜,虛中有實,實中有虛。王先生的論詩標準其實太重 "顯"。要知道詩詞中的 "顯" 和 "隱" 的功用不同,我們不能要所有詩都 "顯"。 說賅括一點,就如美學大師朱光潛 "論美" 一文中提及: '寫景,寫意象的時候要 "顯",言情的時候要 "隱"'。皆因寫景時隱,就易流於晦,像靜安先生所言如霧裡看花,不清不楚,不知與感情牽動有何關係。如寫情太顯,就使情流於淺薄,露而易盡。一首詩詞的情深大多必纏綿委婉,悱惻動人。<br />
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唐小姐此詞景淺而意象顯。眾人皆明。前面已有論之。<br />
但寫情部份,只廖廖數句,也以 "顯"為主,直述感情,無甚變化。<br />
例如在第一 ,二段,詞人寫道 :<br />
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"這夜闌靜處,獨看天涯星"<br />
"但願人沒變,願似星長久"<br />
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倖好詞人以詩句修辭補救。縱觀全詞 ,其感情張力就在每次副歌裡重覆的第二句: " 問人怎麼卻不會永久" 。這句是寫得很好,直接表達了詞人的強烈感情,屬直接描述句。也就是陳永康老師在 "新詩讀賞基本法" 一書中所說的 "Tell",即直述寫作手法。直述雖是 "顯" ,但詞人用了設問法這種修辭技巧。<br />
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在上句,唐小姐舖了路,先寫下了反問句: "漫長夜晚星若可不休?",在第二句就再直接自問: "問人怎麼卻不會永久?" 意思就是: 星可長在,但為何人不能在? 連續兩句就是迫問法的句子了,意思變成是對星的控訴,感情更趨強烈。這使人想起屈原的 "天問",不是無語問蒼天,而是垣率地控訴蒼天。<br />
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所以,寫作詩詞時運用詩句修辭是非常重要的。若非副歌這裡用了設問法,或迫問法,"但願人長久" 這個主題的張力就不會那麼有力。可是,由於意象的重覆,句子又多是直述式,難邀聽眾聯想,景象少了活潑。導致歌詞以整體而言缺少了溫婉含蓄,令人回味的美。<br />
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論詞意趣味,是賞詩評詞的一種技巧。除了分析詩詞中的技巧,主題內容,感情世界,表達方式等 ,吾就這首 "但願人長久" 評論提出了詞意密度和顯隱理論。可惜,唐書琛的 "但願人己久" 較少表現出婉轉曲達,感情含蓄的 "隱" 之美,詞味之餘韻尚嫌不足。當然穌軾的 "水調歌頭" 是絕佳例子去作進一步探討如何在詩詞中表現這兩種美學,但本文是試評唐書琛小姐的詞,所以論穌軾的古詞,只好留待日後有機會再作探討了。<br />
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David Leung<br />
2016-06-17 published<br />
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後記:<br />
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又表了以上的文章,也同時收到舊學友的感想,我亦隨之回覆。<br />
由於與此文有關,所以也將兩封通信引錄在此,以供讀者了解箇中的來龍去脈。<br />
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引文 (原文):<br />
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">似一文兩評。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US">David </span><span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">考慮咬文,</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">入俗才最重要,</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">世間作品要嚼字很多,</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">成就共鳴的卻有……</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">幾人?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">我本非音樂愛好者,</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">而是知音人,</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">我只著重</span><span lang="EN-US"> lover who loves to the end of their
time.<o:p></o:p></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">兩歌說夫妻之爱,</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">前後呼應,</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">致死不渝。</span><span lang="EN-US">
</span><span lang="EN-US" style="font-family: "segoe ui emoji" , sans-serif; mso-bidi-font-family: "Segoe UI Emoji";">🙏🏻🙏🏻<o:p></o:p></span></div>
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引文 (原文):</div>
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<span lang="EN-US">Frank, </span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">倾這類話题是不宜平台講,悶親人。</span><span lang="EN-US"><o:p></o:p></span><br />
<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><br /></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">我們作藝術評論,有不同角度,其中一個就是探討為何作品能對受者產生这樣的感覺。</span><span lang="EN-US"><o:p></o:p></span><br />
<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><br /></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">就如我目视不清,只知 </span><span lang="EN-US">symptom, </span><span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">不知</span><span lang="EN-US">cause</span><span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">,成因,就要請教你一樣。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">所以探討對藝術作品產生感覺的根源,這作品是如何表達出這種情感,大都會跟技巧有關。修辭學是其中一個技巧。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US">Rhetoric </span><span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">是古希臘哲士在辯論中常用的語言技巧。</span><span lang="EN-US">Plato </span><span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">說過,有些修辭技巧容易說服某一類人,另一些技巧則適合另一類人。</span><span lang="EN-US"><o:p></o:p></span><br />
<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><br /></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">這些技巧修辭的種類,古今中外皆很相似。就如你不自覺都寫</span><span lang="EN-US"> "</span><span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">經時光洗藻</span><span lang="EN-US">"</span><span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">,這就是暗喻,</span><span lang="EN-US">metaphor.<o:p></o:p></span><br />
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">讀者要欣賞你所說的夫妻之愛的長久之意,不能不思考。你說的這愛不單是時間長久,是在年月日的過程中經歷不斷更新。因每天洗 [澡] 使你身體</span><span lang="EN-US">refresh.</span><span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">換然一身。讀者其實要领悟你字裡行間的感情,想深入一点感受,也離不開思索你的用詞遣句。是嗎?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">不思想的,就會匆匆看過,已為你只是表達時間長久之意,沒有看出那讓愛不斷更新之情。所以看後便會隨即遺忘。這又有何用呢?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">理論只像一塊 </span><span lang="EN-US">Len</span><span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">,助我們理解 </span><span lang="EN-US">Object </span><span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">的不同部分。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">不同的 </span><span lang="EN-US">lens</span><span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">,就看到事物不同的特点,如 </span><span lang="EN-US">telescope
</span><span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">能望遠,</span><span lang="EN-US">microscope </span><span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">能望近一樣。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">從來文學,音樂評論,都不是隨筆,只談感受。</span><span lang="EN-US"> <o:p></o:p></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">你如果去過德澳,參加過當地音樂會,去過 </span><span lang="EN-US">museum, </span><span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">跟當地普通人倾談,就知 </span><span lang="EN-US">criticism<span style="font-family: , serif;"> 和 </span></span><span lang="EN-US">elite art </span><span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">如何入俗,打進社區,令人提高情操。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">至於本地人能否對真正的評論起共鳴,我們不須過度介懷。我們從事藝術創作,學術研究,早已心理预備,既有喜之,也有惡之的人。因人惡之,難道我們就不做?。就算是</span><span lang="EN-US">10,000 </span><span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">個研究,</span><span lang="EN-US">10</span><span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">,</span><span lang="EN-US">000 </span><span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">個創作,只得一個人受益,只得一個研究對人類有用,我們從事藝術工作的,學術的都會照做。</span><span lang="EN-US"><o:p></o:p></span><br />
<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><br /></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">人必自侮,然後人侮之。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="ZH-CN" style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-CN; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">其實香港地也有不少愛好藝術文学的人。</span><span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">但為數不多。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">所以一個人不懂,就要學,沒有的,就要培養,艺木修養是做人修身的品質。</span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">藝術做到入俗是另一門學問,而藝術本身並不一定要艱深。但跟通俗不同。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">這也是另一個論题。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">香港人重功利,重實制,已是不爭的事實。若有朋友從事這類 "無錢揾" 的事,請多加鼓勵支持。社會上加点真善美,戾氣也較少。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">欣賞藝術作品,如音樂文學等要學懂思考,還要加上懂得聯想和感受。不單是官能性感受。也有沉思性感受。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">還是這句,勤勉自學,必臻佳境。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">但是 "冇錢赚" 的,做了學了也不一定受到認同。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體" , serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">這是我們文人的悲哀。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "segoe ui emoji" , sans-serif; mso-bidi-font-family: "Segoe UI Emoji";">😬😬😬😉</span><span lang="EN-US"><o:p></o:p></span><br />
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Finished<br />
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David Leung<br />
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2016-06-17 Published<br />
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<br />theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.com0tag:blogger.com,1999:blog-7061534489530460113.post-47081877786900345722017-06-17T01:59:00.001+08:002017-06-18T09:41:20.757+08:00離開了豬群的豬王也只是比豬還豬的豬: 評論歌詞 "陪你走"前言:<br />
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這篇文章源於在舊同學群組裡,吾提出了一首最近由電視台翻唱,變成頗為流行的歌曲 "陪著妳走" 的病句問題。當時只是隨意指出問題所在,並不期望引發任何爭論。實情此曲初出版時,圈內的詞評者和唱片監制,已一致指出此曲確是好曲,旋律易上口,歌詞也真摯感人,能流行一時,也絕非僥倖。但可惜歌詞中的文句,確實含有不少沙石。尤以歌詞中的詞組配搭 (collocation),詩句文法邏輯 (poetic syntax) 的問題較為明顯。雖是這樣, 圈中人當時都認為,無減此曲成為一首流行好曲。再者,填詞人唐書琛是外國留學回來,看來英語比中文強,乃不足為奇。<br />
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其實病句的觀點實非吾之新見,乃是長久以來行內人的一致看法,那些問題句子更是習詞學生的良好參考例子。積極來看,如果一首歌詞能多受評論,就越顯出其價值,也能成為好的教材,幫助填詞人進步,這和流行與否無關。<br />
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但可惜吾忘了這類平台,只是 "吹水" 平台,成員見識氣度水平不一。常常只留於你吹捧我,我又捧下你的層面。如果是談談私下感想,個人想法,即興提供意見還可以,卻千萬不可作學術評論。儘管是 "吹水" 平台,但又確實可讓人輕鬆一下,有其價值。可是作學術評論實是不合宜。要知學術性的詩詞評論,也有其特定規則和方法,不是外行人可以察覺得到。關於吾這個提案,其 issue (評論重點) 只是就詞中的詩文句法邏輯 (syntax) 和 collocation (詞組配搭) 所產生的問題作為討論焦點,其他的 issues 如這首歌是否感人,好歌,又或流行曲是否可以容許像這首歌出現的 "病"句或文法邏輯問題存在等,皆不是評論重點 。<br />
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可是,情況可想而知,各路 "高手"各抒已見,但全不是對應 issue,就像你說這菜好味道,他答坐巴士來吃飯很費時一樣。這群高談論之輩,不乏在自己工作領域裡是專業人仕。由此可見,不同專業範疇,思想範式可以是非常天轅地徹的。<br />
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其中一個 "評論" ,原文是這樣寫:<br />
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"斜陽裡,無魄更壯。斜陽,何來還有氣魄?"<br />
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吾相信評論者所暗示的意思是: 流行曲歌詞的中文寫作文法沒有邏輯 (not make sense),是很普遍的,不足為怪。好似這首歌曲 "前程錦鏽" 一樣。所以,"陪著妳走" 含有不乎合文法的句子,只是小事。<br />
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當然,稍有水平之輩,都知道答案,用這例子去支持其論点是否成效。但究竟斜陽真的可不可以有氣魄,又或斜陽能使人感到氣魄雄偉嗎? 這引起了一些爭論。吾也請另一個曲詞評台的成員評一評。<br />
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其中一個在曲詞平台的回應,也就是這篇文章的標題。<br />
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這評論是論人,不是論事。評論說: " 在豬欄裡就算是豬王,離開了豬群,也只是比豬還豬的豬!"<br />
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吾雖不同意評詞變人。也不會寫這樣人的句子,但不得不佩服此句子的修辭技巧。一句完整句子裡就用了六個 "豬" 字,各"豬" 用法皆有些微不同。這使我想起,有人說以往廣東人和外省人 "鬧交" 一定贏。因為廣東人的粗口,可以十八個字連綿不斷,問候對方從親戚至雙親,問個不停。當然這只是笑話。但這句評論既然修辭頗佳,言詞震撼,吾就借來作標題,以吸引讀者,開個玩笑。<br />
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作為一位學者,也趁此機會,用比較學術的原則和觀點,去點評那幾句據說有問題的歌詞。至於文章風格,吾仍沿用一貫散文隨筆的寫法,讓讀者易於明白。<br />
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正文:<br />
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在評論 "陪著妳走" 的病句之前,我先討論歌曲 "前程錦鏽" 開始時兩句,有沒有詩文句法錯誤,和句子意思是否不合常理 (not make sense)。<br />
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流行曲歌詞的一般學術評論標準是: 詞句文字是否做到易記易唱易明,歌詞是否含有優美的詩文修辭,詞組是否含有韻律性。當然,寫作詩詞的句法,與寫作文章用的詩詞句法有很大不同。但不是那 "欄外" 的所想的自由到 "無管制","怎寫都得",毫無章法。<br />
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周錫教授的 "中文寫作新視野" 就提供了本文的詩文句法所需的標準和原則。讀者可自行參考。<br />
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歌曲 "前程錦鏽"裡的頭兩句是:<br />
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斜陽裡,氣魄更壯。<br />
斜陽落下,心中不必驚慌 。<br />
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首先,這兩句音樂旋律是 "平衡句法"。 所以,歌詞要填得好,也要寫近似 "均衡句"的句式去配合自身音樂的結構。再者,旋律頭三個音 "sol sol do' ", 是句題動機 (head motive),像是邀請詞人用合頭式詩句修辭去處理。果然,盧老師真的用了。他用了兩次 "斜陽" 作為句首合頭詞組。兩組 "斜陽" 帶出不同意思的句子。<br />
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在詩詞句法,有一種技巧是省略法。周錫教授的 "中文寫作新視野" 已有詳論。簡單來說寫詩詞時,所有文章句法要求的主語或謂語都在詞句中有需要時省略。最常見就是歌詞中不需點出 "我" 的存在。<br />
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例如:<br />
前明月光,疑是地上霜,舉頭望明月,低頭思故鄉 。<br />
究竟是 "誰" 疑是地上霜,"誰" 舉頭,"誰" 低頭,全詩都沒指明。但詩人就是這個 "誰" 了。<br />
顯然,那個 "我" 字,在詩中就省略了。<br />
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套用在 "斜陽裡......." 這兩句句子,清楚顯見,絕無問題,也不是病句,又合乎詩詞句法。而且 ,詞句修辭和旋律韻律也互相配合了格律,所以,在這分析論點上,頭兩句是好的歌詞。<br />
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至於爭論重點 ,就是句子內容是否合乎常理 (make sense)? 斜陽可以表現氣魄嗎? 等等問題,吾仍聽取其他人的看法後,再作評論。<br />
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公開了問題,"斜陽何來氣魄"的評論是否合常理後,收到很多回應。不如看看來自四方眾多網評中的幾條有趣回應。<br />
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原文如下:<br />
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a. 氣魄,就是氣勢... 斜陽 /夕陽<br />
幾度夕陽紅,...幾有氣勢<br />
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b. 我理解成首歌係唱歌者的感受....氣魄更壯...心中不必驚慌....<br />
係指歌者的感受....<br />
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c. 佢無影相?<br />
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d. 夕陽 / 斜陽 / 日落 .....最奇妙的地方是,氣勢磅礡得來卻人安寧之感<br />
火山,海嘯是有氣勢,卻是動態<br />
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e. 水平不足就是水平不足,很難跟這些人推理。<br />
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以上有些評論確是顯出水平。而吾的最初回應也差不多。皆因夕陽斜照,漫天影映出一片紅霞,確實是氣魄雄偉的攝人壯美。吾亦指出,此美感經驗 (aesthetic experience) 是就是壯美,英語叫 "sublimity"。如你不明白甚麼是 sublime 的感受,聽聽 Mahler 任何一首交響曲,又或貝九交響曲就明白的了。不過,美感經驗不同普通的官能感受。寫了這些在吹水平台,吾也覺不妥,對牛彈琴是也。用一句俗語來形容,就是 "慳番啖氣好過"。 <br />
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返回 "前程錦鏽" 的評論。<br />
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"前程錦鏽"裡的第二句歌詞,是 "心中不必驚慌"。是 "誰" 的心中? 不用道明吧,是有人才可以有 "心中" 這詞組。既是前後呼應的詞句修辭,如果後句有 "我",前句也應有 "我"的存在。再者,前句歌詞裡有一個 "裡" 字,也是明顯道出有 "人" 自己置身其中才合乎語法。這句的意思應是,"我" 在斜陽裡,"我" 感受到氣魄所在。<br />
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最可笑的是,"吹水平台" 有人提出斜陽不代表氣魄。這個當然是道理。但盧國沾老師這兩句歌詞,從頭到尾都沒有說 "斜陽" 代表 "氣魄"。他只說 "斜陽裡,[我感到]氣魄更壯" 而矣。<br />
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再者,當詩詞中寫景,但又無點明主語的 "你,我,他" ,那景色又帶出人的感情時,就是文學理論中常說的情景交溶。在這情況,詩人是物我兩忘,以景溶情,以情溶景。我們常說詩詞的 "意境" ,就與這種情景有關。"境"者,心境也。與人的感情世界有關,但 "境" 也是地域界限,如國境是也。所以也與外物景象有關。而"意"者,乃詩詞的主題意念 (idea),也即詩人的本意,通過詞歌句子而表達。雖然王昌齡的意境學說,仍屬抽象,至今未有統一理論,但身受華夏文化影響,華人賞詞,仍少不勉常用意境來論之,方便了解。吾也不便在這裡作詳細探討。<br />
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以此推論,"斜陽裡..." 這一詞句,也含有意境。<br />
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本來 "前程錦鏽" 一曲的歌詞只屬中等水平。就連盧老師也只自評為中規中矩,不值一提。只是勵志歌詞在當時七十年代還是少見,加上旋律夠動聽,所以紅了。現今如果不是有人亂套例子,這麼多年來,都引不起詞評人談論這詞,更遑論歌曲開始時這兩句句子,因為太普通,亦合乎句法,沒有甚麼不妥的緣故。所以,就連吾也不察覺這兩句驟看平平無奇的歌詞的張力所在。<br />
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其實,賞詞者該看得出盧老師在這裡用了以虛化實的技巧,把本來只是虛字的 "更" 字,變成有程度上的遞增的描述。 他的歌詞說: 人置身 "斜陽裡, 氣魄更壯"。即是暗示,人看見斜陽,當感受其氣魄雄偉,但能置身其中,感受到的氣魄也更壯麗。這頭兩句歌詞,擘頭而來的景緻,已叫人吃不消了。<br />
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我們不要忘記,歌詞主題是勵志的,十分積極的自勉。前文後理都環繞著這既定的主題情節而發展。人要自我勵勉,當然會說類似 "氣魄更壯" 這樣的話。就像遇到挫折時,自己激勵自己說: 明天會 '更' 好! 所以,在斜陽照耀之下,那怕晚夜之來臨,因為明朝天邊的 [旭日] 又會帶出希望。<br />
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總而言之,"斜陽裡....."這句歌詞,每論是詩文句法,又或意思邏輯方面,都沒有在 "吹水平台" 裡所提出的 no sense (不合常理)。<br />
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現在轉到 "陪著妳走" 中引起爭論的問題詞句。<br />
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當時,吾隨意說這雖是好歌,深情真摰,但也不是全無沙石。其中詩句邏輯也有問題。<br />
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吾提出了歌詞中最尾兩句是最明顯。<br />
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原詞是:<br />
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我倆已是無力前行,跟我一起飛去。<br />
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這句句子,在多年前,著名詞評人黃志華先生已提出過配搭錯誤,句子出現配搭邏輯不妥的問題。並提議以 "路" 字替代 "力" 字。吾只是再次提出來。<br />
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改了後,這兩句歌詞就變成:<br />
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我倆已是無路前行,跟我一起飛去。<br />
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詞組"無力" 出現在上句,後句在邏輯上不應配以 "飛去" 這個詞組。為何?<br />
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不如先看曲詞平台上一個評論:<br />
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1. 無路前行才 make sense。試問既然無力,又怎樣飛去呢? 愚見而矣! (原文)<br />
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由此可見,不需黃志華老師提出,明眼人只一比較,就知前後句詞組配搭邏輯上出錯。意思當然也出現問題。<br />
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因為無路前行 ,不能用腳走,所以才一起飛過去才合常理。<br />
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所以前句詞組 "無路前行" 配搭後句詞組 "一起飛去",乃合理之選。<br />
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如果選 "無力前行",就像以下比喻。<br />
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去到海邊時,你就這樣對女友說: 我們行到好啦! 無力啦! 不如跟我船過去吧!<br />
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試問這句話合常理嗎? 你這樣說完,如你女友不回應一句 "你都 short !"<br />
她就真的是 short 的了。<br />
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可是讓我們轉一轉這個比喻:<br />
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去到海邊,無路走了。你就指著對岸,對女友說: 我們既是無路再行,不如坐直升機飛過去啦!<br />
你女友實回應,"good idea! "<br />
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當然,"陪著妳走" 是詞詞配搭邏輯的錯誤,不是出在 "我" 能不能真的飛去這個邏輯問題。其實詩詞句法修辭,有一種名為誇張法,是詩詞常用修辭法則。用了此法,文字當然不能直接了解。<br />
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李白詩云: 欲上青天攬明月。<br />
難道李白真的可以飛上天嗎? 人當然不能飛。但詩文句法,卻容許這樣誇張地寫,絕無問題。<br />
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吾欲改善這兩句歌詞,會寫成:<br />
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我倆已是無路前行,跟我牽手飛去。<br />
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"跟我一起..." 和 "跟我牽手..." 這兩句有何分別?<br />
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在於詩詞句法中的 "呈現法" 和 "直述法" 之分。<br />
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陳永新先生在 "新詩寫作基本法"一書中提出 "show" 和 "Tell" 的寫法。他指出詩詞應多用 "show" 的寫法。文章則應用 "tell"的寫法居多。 "show" 的好處是寫出來的句子是景象 ,有視覺感,讀者看過後,要自已聯想畫面而帶出相應的感受。但直述法是直接告訴了讀者知道,所以讀者就不須思考,感受自然沒有那麼深刻。<br />
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上文的提議,想改善最後這兩句歌詞,用"牽手" 去代替 "一起",好處是詞意的密度能增高。因 "牽手" 已含有一起的意思。而牽手這是動作,有畫面呈現,帶出既溫馨又浪漫,誓死相隨的不渝之愛,點出了主題氣氛。<br />
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既說到主題氣氛,還有一點也值得討論,就是 "陪著妳走" 全曲的意象,皆隨著這永不分離,白頭到老,顯出真愛的主題而發展。<br />
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我們不難發現,副歌歌詞,意象全是與 "路" 有關, 多過與 "力" 有關。走路行路,字詞當然是自然配搭。<br />
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副歌一開始就寫:<br />
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陪著妳走 (當然是相守相愛之路)<br />
一生一世也不分<br />
天天編出兩雙足印 (足印當然印在 "路" 上)<br />
過千山,過千海 (當然指行過很多路)<br />
如果走到這世界邊端 (這裡即是走到天涯海角,還不是指 "路" 的盡頭麼? ,無路可行吧!)<br />
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這也同時表明提議改寫的句 "我倆已是無路前行" 的合理性。<br />
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所以, 這首歌的主題顯示,那陪著妳走的,自然就是這條相愛不離的比喻性 "愛之道路"。<br />
全首歌詞都這是以古詩詞文章 "賦比興" 的 "興" 的寫法。這是常用的詩詞寫作手法。<br />
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當時 "吹水平台" 有一個回應大意說: 化蝶雖不合常理,但很喜歡,感受很深。<br />
他的意思可能說人又怎能化蝶,歌詞是不需看合不合邏輯,有感受就可以。殊不知,詩詞句法,不同於文章句法,可以用典故,可以誇張,可以借喻,明喻和暗喻,還有擬人法,擬物法。用這些修辭手法,也合乎詩文句法。用了這些手法,不需再用文章法則去衡量。<br />
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試看杜甫詩云:<br />
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感時花濺淚,恨別鳥驚心。<br />
試問花怎會哭呢? 鳥又怎會懂心驚呢?<br />
這是擬人法的運用。<br />
應運用這些詩詞修辭法時,是不能用文章式句法去解釋。<br />
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又或拙作:<br />
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烏江傳恨為驕狂..... (這裡指項羽烏江自刎的典故)<br />
蘇子寒窗勸苦讀.... (這裡指蘇秦刺股勸學,最終受六國封相的典故)<br />
月娥忽悟桃源恨.... (月娥是指嫦娥的典故,桃源是指陶潛的桃花源記的故事)<br />
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因此 "吹水平台" 回應中所指的 "化蝶" 可引起共鳴,因無引文,所以只能猜度為詩詞寫法中的典故運用。所以用了化蝶,也並不是不合常理邏輯的句子。能引起共鳴,當然就是詩文句法,修辭用得妙,寫得好的緣故。<br />
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至於 "陪著妳走" 的另一句病句是顯然易見的,就算是較寬鬆的詩詞句法也是不能接受。這是歌曲的第一句歌詞:<br />
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時間片刻變陳舊。<br />
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陳舊是指可觸及的事物因時間久遠而變舊變質 。是形容詞。但 "時間" 此抽象的概念,不是事物,又怎能再用與時間有關的形容詞去形容呢?<br />
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吾在此不再評述。皆因在 "吹水平台" 也無人論之。其語法毛病是顯然易見了。<br />
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總結:<br />
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歌曲 "陪著妳走" 由於歌詞易明,易記,旋律又易上口,細看又發現詞句偶有 "呈示性"的詞句修辭,例如,"皆因有妳緊握我的手"等。這些句子很簡單,但畫面呈示的影象很鮮明,傳遞了溫暖摰愛的情感。聽眾那有不著迷呢?<br />
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詞句沙石,在流行曲中在所難免,雙沾一江,雖說是大師,也有不少失手作品。雖說詩詞文體,比寫文章較為自由,但也不是等於說只要這歌詞能感動我,所以就是毫無瑕疵。吾寫歌詞評論,為的是讓歌詞提供改善和進步的空間,也同時提供予歌者聽眾有關歌詞賞識的方法。美感經驗,不單是用直覺感受,我覺得好就好,也包含以客觀性,沉思其意念技巧來感受。能了解歌詞的風格,修辭技巧,寫作方法,詞意,和文字的韻律性,也可以加深對作品的欣賞,培養對藝術賞的品味和能力。<br />
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全文完。<br />
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David Leung<br />
2017-06-17 published<br />
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<br />theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.com0tag:blogger.com,1999:blog-7061534489530460113.post-88390938674728451272017-03-17T17:08:00.003+08:002017-03-21T13:56:47.605+08:00LMus Set Piece Study (2017): The Intrepretation of Beethoven's Diabelli Variations op.120Foreword:<br />
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The following academic article is written for those who would like to know more about Beethoven's great master piano variation, the Diabelli Variations, op. 120. Students who are preparing for the LMusTCL Trinity Diplomatic Examination 2017 syllabus will also be interested in this set piece. While preparing for the lessons, I, as a musicologist and music theorist, always feel that formalistic analysis is too dry, too boring, and insufficient for one to understand the whole piece. Although there are many articles discussing this lengthy work, many of them just focus on the topic of structure and coherence. Based on a reference Chinese music book, I would like to elaborate the points a little further, albeit brief, aiming to offer a new direction for reading and understanding of this set piece, hopefully to help those, who like and need to understand Beethoven's work more.<br />
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Essay<br />
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 14pt; margin: 0px;">The Interpretation of
Beethoven’s <i style="mso-bidi-font-style: normal;">Diabelli Variations</i>
op.120</span></b></div>
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<span lang="EN-US" style="margin: 0px;">Based on the
Reference:</span><span style="font-family: "新細明體" , serif; margin: 0px;">董學渝</span><span lang="EN-US" style="margin: 0px;">. <i style="mso-bidi-font-style: normal;">The
Studies of Beethoven Diabelli Variations and Thirty-Two Variations in C Minor</i>.
</span><span style="font-family: "新細明體" , serif; margin: 0px;">全音音樂出版社</span><span lang="EN-US" style="margin: 0px;">, 1992.</span></div>
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<span lang="EN-US" style="margin: 0px;">Introduction:</span></div>
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<span lang="EN-US" style="margin: 0px;">From 1782 when the nine variations were firstly written for the piano
movement in <i style="mso-bidi-font-style: normal;">Nine Variations on a March</i>
<i style="mso-bidi-font-style: normal;">by</i> <i style="mso-bidi-font-style: normal;">Dressler </i>woo.63 onward, Beethoven seemed to be fond of using
variations, a conventional compositional practice, for his compositions until
his last string quartet op.135 in 1826. In fact, throughout his life long
career, Beethoven has composed various genres of instrumental work including
Theme-and-Variations, and lengthy compositions of more than sixty pieces with
variation movements. These works include symphony, piano sonata and string
quartet, such as Sonata op.26, op.109, op.111, Symphony no. 9 in D minor, and
the late quartets op.127, op.131, op.132 and op.135. Even in Beethoven’s late style works,
the last six string quartets in particular, never fails to reflect his profound
nostalgia on the fading classical beauty and elegance exhibiting in the form of variation for some movements. Unlike those variation movements in a multi-movements piece, the <i style="mso-bidi-font-style: normal;">Diabelli Variations</i> op.120, is Beethoven’s last entire large-scale Theme-and-Variations
written for solo piano. </span></div>
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<span lang="EN-US" style="margin: 0px;">In Beethoven’s early compositional career before 1799, he has
already composed twelve pieces of Theme-and-Variations for solo piano. During
this period, Beethoven favored to employ popular tunes, such as an aria of the
current opera, as the main theme, and varied it in a free quasi-improvisatory
way, aiming to display his technical skills and compositional talents. This is
a common performance practice in the classical period, since composers did not
possess independent financial sources other than patronized support. They
needed to display their music capabilities in the court gatherings or salon
concerts, in order to attract commissions or careers from the aristocratic
circle. Playing brilliant variations on the keyboard based on the given theme
became an “examination” for the musicians in the classical period. </span></div>
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<span lang="EN-US" style="margin: 0px;">After 1800, Beethoven began to write his own theme for variations. This
demonstrates that Beethoven no longer treated variation as just a game of
courtly entertainment or a prerequisite of one’s prospect, but an artistic
expression of a real gifted artist. <i style="mso-bidi-font-style: normal;">Six Variations</i>
in F Major op.34 and <i style="mso-bidi-font-style: normal;">Eroica Variations</i>
in Eb Major op.35 for piano solo written in this period are exemplar of
Beethoven’s stylistic change. He even put his own heroic “portrait” in these works,
expressing none of the structural order of the classicism, but reflecting his
imaginative ideas and romantic emotions through every nuance of the sonic
picture. Hence, the achievement of these two sets of piano variations are
claimed to be parallel with his remarkable middle-period symphonic works, which
marked Beethoven to be one of the greatest masters in the music history. </span></div>
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<span lang="EN-US" style="margin: 0px;">Beethoven’s own idiosyncratic “Oedipus Rex” on the Baroque elegance came
from his <i style="mso-bidi-font-style: normal;">Thirty-Two Variations</i> in C minor
woo.80 written in 1806. He employed chaconne, an almost outmoded Baroque stylistic
dance, as the main form for the Cm Variations. The entire work is developed
from the ostinato recurring in the bass. Each variation, being created with
different melodic lines, aims to constitute a complex contrapuntal fabric,
which never fails to exhibit Beethoven’s audacity and inventiveness. If one
claims that it was Beethoven’s deafness to move him relying on writing
contrapuntally, this would only overlook the significance of Baroque polyphonic
beauty and Beethoven’s own nostalgic passion on the conventional counterpoint. Thirty-two
variations in Cm woo.80, thus, is regarded as the forerunner of the great piano
variation composition, <i style="mso-bidi-font-style: normal;">Diabelli</i>, appearing
a few years later. </span></div>
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<span lang="EN-US" style="margin: 0px;">Beethoven’s <i style="mso-bidi-font-style: normal;">Diabelli</i>
<i>Variations</i> op.120 was composed between a rather long period of five years from
1819 to 1823. Hence, there is no surprise that the work is pervaded with late Beethovean
compositional style. In Beethoven’s later life after he had experienced a series of
pains and sufferings, he valued spiritual sublimity in lieu of the superficial
formalistic shackle by means of his several master works such as <i style="mso-bidi-font-style: normal;">Missa Solemnis</i>, Piano Sonata op. 109,
op.110 and op.111. Through his music, Beethoven attained a level that reflects his
profound understanding of the natural human desire – longing for approaching
God – was lofty transcended. The <i style="mso-bidi-font-style: normal;">Diabelli</i>
<i>Variation</i> op. 120 can be regarded as such music. When the time this <i>Variation</i>
was composed, Beethoven’s tragic life reached the zenith. He was almost deaf.
He was fiercely sick. He was fully exhausted because of the notoriety of his
adopted son, Carl, his ex-nephew. But even being faced with the most serious adversity,
Beethoven the composer never lost the jewel in his crown. His late style music showed
that he was unrestrained from the outer bondage of the imposed formalism, stepping
into a more inner, imaginative world of spiritual realm. <i style="mso-bidi-font-style: normal;">Diabelli</i> <i>Variations</i> is such a musical work that not only did
Beethoven crystallize the Classical tribute, but he also created a Romantic
legacy for the future coming generations. In this work, Beethoven ingenuously
incorporated a dualistic style that is a well blending composite of classical
melodic eloquence and Baroque contrapuntal beauty, but at the same time, not
losing the multifarious Romantic colors. Therefore, it is no surprise
that Beethoven music can be regarded as “circum-polar”, according to the
renowned musicologist, Carl Dahlhaus. Tovey, another well-known English music
commentator, also asserted that “Beethoven’s <i style="mso-bidi-font-style: normal;">Diabelli</i> is an unprecedented piano work, which can be said as one of
the greatest theme-and-variation compositions that will remain influential for
many later coming eras.” </span></div>
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The various variation techniques employed in the <i>Diabelli</i> are discussed as follows:<br />
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<span lang="EN-US" style="margin: 0px;">Variation Techniques:</span></div>
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<span lang="EN-US" style="margin: 0px;"><span style="margin: 0px;">1.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "times new roman"; margin: 0px;"> </span></span></span><span lang="EN-US" style="margin: 0px;">Melody</span></div>
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<span lang="EN-US" style="margin: 0px;"><span style="margin: 0px;">a.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "times new roman"; margin: 0px;"> </span></span></span><span lang="EN-US" style="margin: 0px;">Turn figure:</span></div>
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<span lang="EN-US" style="margin: 0px;">The use of “turn”
figure aims to embellish the thematic melody can express the tender and
delicate characters of Beethoven’s individual compositional style. Such melodic
figuration often permeates an aura of classical grace, elegance and eloquence
to audience. Typical examples of such variations can be found in no. 3, 4, 11, 12,
18, 21 and the coda. </span></div>
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<span lang="EN-US" style="margin: 0px;"><span style="margin: 0px;">b.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "times new roman"; margin: 0px;"> </span></span></span><span lang="EN-US" style="margin: 0px;">Trill figure, arpeggiation, running scalar passage:</span></div>
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<span lang="EN-US" style="margin: 0px;">Beethoven
favors to employ such compositional devices to display his passionate fury, at
times parodic, and at the other times, seriously designed.</span><br />
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<span lang="EN-US" style="margin: 0px;"> The examples
of using these devices are as follows:</span><br />
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<span lang="EN-US" style="margin: 0px;">i. Trill figure:
Variation no. 6, 16, 21</span></div>
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<span lang="EN-US" style="margin: 0px;">ii. Arpeggiation:
Variation no. 6, 7, 19, 25</span></div>
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<span lang="EN-US" style="margin: 0px;">iii. Running
Scalar Passage: Variation no. 10, 22, 23, 27, 31 and 32.</span></div>
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<span lang="EN-US" style="margin: 0px;"><span style="margin: 0px;"> </span></span></div>
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<span lang="EN-US" style="margin: 0px;"><span style="margin: 0px;">c.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "times new roman"; margin: 0px;"> </span></span></span><span lang="EN-US" style="margin: 0px;">Short fragmented motive and Cantabile melody:</span></div>
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<span lang="EN-US" style="margin: 0px;">Beethoven’s
unique compositional skill is to cut off a detached, short motive from the main
theme to developing the whole piece. The advantage of a short motive is its impressive
and catchy nature. One example can be found in Variation no. 9.</span></div>
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<span lang="EN-US" style="margin: 0px;">Beethoven
also likes to create a singable, lyrical melody because of its catchy and
memorable nature, in order to form part of the variation. No matter the variation is
based on a short, decisive motive or a lengthy cantabile melody, Beethoven
displays it in a catchy solo, or elaborates it with independent contrapuntal lines,
constituting a sonic fabric. Examples are found in Variation no. 3, 4, 11, 12. </span></div>
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<span lang="EN-US" style="margin: 0px;"><span style="margin: 0px;">d.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "times new roman"; margin: 0px;"> </span></span></span><span lang="EN-US" style="margin: 0px;">Newly created Melody:</span></div>
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<div style="margin: 0px 0px 0px 48px; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="margin: 0px;">Beethoven, as
an inventive composer, never forgets to create something new and fresh for his
compositions, even for the theme and variations. As such, there is no surprise
that Beethoven creates new melodic themes and motives for his <i style="mso-bidi-font-style: normal;">Diabelli </i>Variations, sustaining the
fresh, impressive characters of the music. Examples are no. 8, 12, 18, 27, 30
and 31.</span></div>
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<span lang="EN-US" style="margin: 0px;"><span style="margin: 0px;">2.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "times new roman"; margin: 0px;"> </span></span></span><span lang="EN-US" style="margin: 0px;">Rhythm</span></div>
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<span lang="EN-US" style="margin: 0px;"><span style="margin: 0px;">1.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "times new roman"; margin: 0px;"> </span></span></span><span lang="EN-US" style="margin: 0px;">Skillful rhythmic complex:</span></div>
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<span lang="EN-US" style="margin: 0px;">The rhythmic
complex aims to expand a wide range of rhythmic patterns to each variation.</span></div>
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<span lang="EN-US" style="margin: 0px;"><span style="margin: 0px;">a.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "times new roman"; margin: 0px;"> </span></span></span><span lang="EN-US" style="margin: 0px;">Use of rests to disrupt the natural flowing of the melodic line, so
as to create an unusual rhythmic pattern, for example, Variation no. 13, and
22.</span></div>
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<div style="margin: 0px 0px 0px 72px; text-align: justify; text-indent: -18pt; text-justify: inter-ideograph;">
<span lang="EN-US" style="margin: 0px;"><span style="margin: 0px;">b.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "times new roman"; margin: 0px;"> </span></span></span><span lang="EN-US" style="margin: 0px;">Use of irregular accents to disrupt the natural flowing of the
melodic line, so as to create a fresh musical motion, for example, Variation
no. 1, 4, 5, 7, 9, 27 28, 32 and the coda.</span></div>
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<span lang="EN-US" style="margin: 0px;"><span style="margin: 0px;">2.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "times new roman"; margin: 0px;"> </span></span></span><span lang="EN-US" style="margin: 0px;">Change of rhythmic patterns:</span></div>
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<div style="margin: 0px 0px 0px 48px; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="margin: 0px;">The function
of rapid change of rhythmic pattern is for the purpose of adding dramatic and coloristic
effects to the variations, as well as creating a shift of meters or metrical
accents of the music structure.</span></div>
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</div>
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<span lang="EN-US" style="margin: 0px;"><span style="margin: 0px;">a.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "times new roman"; margin: 0px;"> </span></span></span><span lang="EN-US" style="margin: 0px;">Use of hemiola, (beating in 3 against 2 or vice versa), to create a
shift of meter from duple to triple time or vice versa, for instance, Variation
no. 26.</span></div>
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<div style="margin: 0px 0px 0px 72px; text-align: justify; text-indent: -18pt; text-justify: inter-ideograph;">
<span lang="EN-US" style="margin: 0px;"><span style="margin: 0px;">b.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "times new roman"; margin: 0px;"> </span></span></span><span lang="EN-US" style="margin: 0px;">Create syncopation with tie notes across bar line to create an
effect of sluggish motion, disrupting the regular rhythmic flowing, for
instance, Variation no. 3, 4, 5, 7, 9, 15, 19, and the coda.</span></div>
<br />
<div style="margin: 0px 0px 0px 72px; text-align: justify; text-indent: -18pt; text-justify: inter-ideograph;">
<span lang="EN-US" style="margin: 0px;"><span style="margin: 0px;">c.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "times new roman"; margin: 0px;"> </span></span></span><span lang="EN-US" style="margin: 0px;">Use syncopated rhythmic pattern to create an illusion of shift of
metrical accents, for example, Variation no. 2. </span></div>
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<span lang="EN-US" style="margin: 0px;"><span style="margin: 0px;">3.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "times new roman"; margin: 0px;"> </span></span></span><span lang="EN-US" style="margin: 0px;">Harmony and Tonality</span></div>
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<span lang="EN-US" style="margin: 0px;">Beethoven intentionally
uses chromatic altered chords to enhance the dramatic and coloristic effects.</span></div>
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</div>
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<span lang="EN-US" style="margin: 0px;"><span style="margin: 0px;">a.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "times new roman"; margin: 0px;"> </span></span></span><span lang="EN-US" style="margin: 0px;">Full Diminished Seventh Chord:</span></div>
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<span lang="EN-US" style="margin: 0px;">Several
examples employing diminished seventh chord to create non-functional harmonic
motion, tonal ambiguity and rapid shift of tonicized levels are Variations no.
3, 4, 11, 12.</span></div>
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<div style="margin: 0px 0px 0px 72px; text-align: justify; text-indent: -18pt; text-justify: inter-ideograph;">
<span lang="EN-US" style="margin: 0px;"><span style="margin: 0px;">b.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "times new roman"; margin: 0px;"> </span></span></span><span lang="EN-US" style="margin: 0px;">Neapolitan Sixth Chord (bII level):</span></div>
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<div style="margin: 0px 0px 0px 72px; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="margin: 0px;">Flattened Second,
a chromatic device favored by Schubert, whether appearing in the level of chord
or key, is an effective device to create a feeling of Romantic “Distance”,
which is in fact an aesthetic philosophy commonly found in the late coming
Romantic compositions, such as Schumann’s piano cycle, <i style="mso-bidi-font-style: normal;">Papillon</i> op.2. Beethovan’s Variation no. 5, 9, 30 in <i style="mso-bidi-font-style: normal;">Diabelli</i> foreshadows such aesthetic
significance.</span></div>
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<br />
<div style="margin: 0px 0px 0px 72px; text-align: justify; text-indent: -18pt; text-justify: inter-ideograph;">
<span lang="EN-US" style="margin: 0px;"><span style="margin: 0px;">c.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "times new roman"; margin: 0px;"> </span></span></span><span lang="EN-US" style="margin: 0px;">Consecutive Chromatic Scalar Passage:</span></div>
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<div style="margin: 0px 0px 0px 72px; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="margin: 0px;">It is a long
tradition for music to express emotions and passions with a running chromatic
scalar passage. Variation no.9, 20, 22 are typical examples to enhance a
similar effect. </span></div>
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<span lang="EN-US" style="margin: 0px;"><span style="margin: 0px;">4.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "times new roman"; margin: 0px;"> </span></span></span><span lang="EN-US" style="margin: 0px;"><span style="margin: 0px;"> </span>Articulation:</span></div>
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<div style="margin: 0px 0px 0px 24px; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="margin: 0px;">Beethoven employs sudden dynamic markings to vary the melody, in
order to create a dramatic effect. Indeed, dramatic contrast is one of
Beethoven’s musical characteristics. His brilliant fanfare-like propelling
piano sonority is largely based on the pianistic idiom of ongoing changes of
dynamics and tempos. Music under the support of such idiomatic passages can
widen the expressiveness of the work.<span style="margin: 0px;"> </span></span></div>
<br />
<div style="margin: 0px 0px 0px 32px; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="margin: 0px;"><span style="margin: 0px;">a.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "times new roman"; margin: 0px;"> </span></span></span><span lang="EN-US" style="margin: 0px;">Beethoven uses a wide range of dynamic markings such as “ff”, “fp”,
“sf” in the work. This helps to display a Romantic colored network. Examples
are Variation no. 1, 5, 6, 7, 9, 10, 13, 21, 22, 28 etc.</span></div>
<br />
<div style="margin: 0px 0px 0px 56px; text-align: justify; text-indent: -18pt; text-justify: inter-ideograph;">
<span lang="EN-US" style="margin: 0px;"><span style="margin: 0px;">b.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "times new roman"; margin: 0px;"> </span></span></span><span lang="EN-US" style="margin: 0px;">The use of the dynamic markings of “pp” and “fp” tends to bring out
the classical style of grace and elegance. Variation no. 2, 3, 4, 8, 21, 33 and
the coda are the exemplar. </span></div>
<br />
<div style="margin: 0px; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="margin: 0px;"><span style="margin: 0px;">5.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "times new roman"; margin: 0px;"> </span></span></span><span lang="EN-US" style="margin: 0px;">Conclusion</span></div>
<br />
<div style="margin: 0px 0px 0px 24px; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div style="margin: 0px 0px 0px 24px; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="margin: 0px;">Beethoven’s <i style="mso-bidi-font-style: normal;">Diabelli </i>Variations op. 120, is regarded
as a great master work of the same generic repertoire. Through this work, we
can experience how Beethoven exploits his unrestrained imagination and strict-disciplined
convention, attaining a transcended spiritual state, which is a realm of no
ancestor ever enters. Its influences are tremendous and long-lasting. No matter
it is Schumann’s famous <i style="mso-bidi-font-style: normal;">Symphonic Etudes</i>,
or Brahms’s <i style="mso-bidi-font-style: normal;">Variations on a Theme of
Handel</i>, these works follow the traits established by Beethoven to develop
the genre to the full. 19<sup>th</sup> century composers even employed various
variation techniques to enrich the musical garden, helping to develop a
brilliant era of Romanticism, which is an important phase of the evolution of the
entire western music history.</span></div>
<br />
<div style="margin: 0px 0px 0px 24px; text-align: justify; text-justify: inter-ideograph;">
Finished</div>
<div style="margin: 0px 0px 0px 24px; text-align: justify; text-justify: inter-ideograph;">
</div>
<br />
<div style="margin: 0px 0px 0px 24px; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="margin: 0px;">2017-03-17
(Published)</span></div>
<br />
<div style="margin: 0px 0px 0px 24px; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="margin: 0px;">David Leung</span></div>
<div style="margin: 0px 0px 0px 24px; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="margin: 0px;"><br /></span></div>
<div style="margin: 0px 0px 0px 24px; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="margin: 0px;">HKU</span></div>
<div style="margin: 0px 0px 0px 24px; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="margin: 0px;">CUHK</span></div>
<div style="margin: 0px 0px 0px 24px; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="margin: 0px;">HKAPA</span></div>
<br />
<div style="margin: 0px 0px 0px 24px; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="margin: 0px;">PhD (Musicology, Candidacy), MPhil (Musicology), MPhil (Music Theory), </span><br />
<span lang="EN-US" style="margin: 0px;">BMus 1<sup>st</sup>Hon (Composition and Electronic Music), </span><br />
<span lang="EN-US" style="margin: 0px;">LRSM (Music Theory), LTCL (Music Composition)
<span style="margin: 0px;"> </span></span></div>
<br />
<br />
<br />theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.com0tag:blogger.com,1999:blog-7061534489530460113.post-44751537173049447572015-10-16T11:30:00.005+08:002015-10-16T15:04:48.109+08:00Foreword:<br />
<br />
Chime 2015 academic conference is going to begin next Wednesday onward. The Conference in this year will be held at Geneva Univeristy, a well-known university in Europe with the world-ranking 27. The main theme, of course, centers around all kinds of Chinese music, ranging from pop music and traditional ethnic music, to contemporary new music. It is my pleasure that my paper has been accepted and will be delivered on Oct 22, 2015. Since the website for the Conference has just finished a few weeks ago, the time to post all information about the event is not enough to open to the public. My proposal of the presentation, therefore, is published here for all friends' and colleagues' sharing. <br />
<br />
For the Conference Event, please visit the followings:<br />
<br />
<a href="http://www.chime2015.org/">http://www.chime2015.org/</a><br />
<br />
Hope you will enjoy it. <br />
<br />
<br />
The Proposal:<br />
<br />
<br />
<span style="font-family: 新細明體;">
</span><br />
<div align="center" class="MsoBodyTextIndent2" style="margin: 0cm 0cm 0pt 30.05pt; text-align: center; text-indent: -30.05pt;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US">Whose Face? China
Hongkongese or Hong Kong Chinese</span></i><span lang="EN-US">:<i style="mso-bidi-font-style: normal;"> </i><o:p></o:p></span></b></div>
<span style="font-family: 新細明體;">
</span><br />
<div align="center" class="MsoBodyTextIndent2" style="margin: 0cm 0cm 0pt 30.05pt; text-align: center; text-indent: -30.05pt;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US">Reshaping the “Chineseness”
by Hearing the Quoted Tunes in</span></i></b></div>
<div align="center" class="MsoBodyTextIndent2" style="margin: 0cm 0cm 0pt 30.05pt; text-align: center; text-indent: -30.05pt;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US"></span></i></b> </div>
<div align="center" class="MsoBodyTextIndent2" style="margin: 0cm 0cm 0pt 30.05pt; text-align: center; text-indent: -30.05pt;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US"> Two Contemporary Hong Kong Compositions</span></i></b></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt; text-align: justify;">
<span lang="EN-US"><o:p> </o:p></span></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; line-height: 200%; margin: 0cm 0cm 0pt; mso-char-indent-count: 2.0; text-align: justify; text-indent: 24pt;">
<span lang="EN-US">When the umbrellas were held up against the tear gas attack in the
protest on September 28, 2014, the hot issue raised by the marathon-like Yellow
Umbrella Movement was not only the matter of politics but also a coincidence created
for the locals to face or be faced with an already moot cliché: How Hongkongese
can redefine their identity, particularly under the increasingly hegemonic influences
from the mainland. My present paper is not intended to discuss the topic of “identity”
on the platform of postcolonial studies such as transculturation. But instead, I
am far more interested in locating such issue on the aesthetic dimension of
collective memory, which is revealed in two Hong Kong contemporary
compositions, Tung’s <i style="mso-bidi-font-style: normal;">The Book of Laughter
and Forgetting</i> (2002), and Chan’s <i style="mso-bidi-font-style: normal;">The
Enigma of Moon</i> (1998). In the process of shaping and reshaping the “Chineseness”,
a new face, in which the composers tend to create, and the local listeners tend
to experience, albeit transient, can appear in every nuance of sonic metaphor.</span></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; line-height: 200%; margin: 0cm 0cm 0pt; mso-char-indent-count: 2.0; text-align: justify; text-indent: 24pt;">
<span lang="EN-US">It has been widely known that a sense of history and culture can often
be manifested themselves in the context of collective memory. Acts of recall triggered
by musical sound, I believe, have time and again challenged the destructive
force of time, and drop-by-drop they have woven a picture of what we may now
legitimately call Hong K<span class="MsoPageNumber">ong’s “history” and
“culture.” </span>Moreover, to borrow, appropriate or quote from the other
musical cultures for a formally self-contained piece is no longer a
taken-for-granted or unconscious act. Such borrowing is impossible to escape
the question of meaning and motivation of the composer. Yet again this quoted
tune never fails to conjure up a memory in the listener or function as a
representation of one such act of recall from time to time. As such, in this
paper I wish to argue that given Hong Kong’s present unique situation, musical quotation
– typically, a fragment borrowed from indigenous folk tune and Cantonese traditional
opera – is illustrative of the workings of collective memory. Be it a tune,
rhythm or sonority, a reference to a style or genre, a quotation is a tangible
link between the sonic and cultural reality of the past and those of the
present as well as metaphor for the formation of Hong Kong “Chineseness”,
forming part of the local cultural identity.</span></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; line-height: 200%; margin: 0cm 0cm 0pt; text-align: justify;">
<span lang="EN-US"><o:p></o:p></span> </div>
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; line-height: 200%; margin: 0cm 0cm 0pt; text-align: justify;">
<span lang="EN-US"><o:p></o:p></span> </div>
<span style="font-family: 新細明體;">
<strong>David Leung (published)</strong></span><br />
<span style="font-family: 新細明體;"><strong>2015-10-16</strong></span><br />
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; line-height: 200%; margin: 0cm 0cm 0pt; text-align: justify;">
<span lang="EN-US"><o:p> </o:p></span></div>
theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.com0tag:blogger.com,1999:blog-7061534489530460113.post-67849394924006747162014-10-16T02:25:00.002+08:002014-11-27T23:12:39.638+08:00Film Music: The Modern Version of 19th Century Program musicForword:<br />
<br />
When answering a viewpoint question in the examination, we have to spend enough time to think carefully about the main issue or argument of that question first. The following is the question about film music analysis in the AMusTCL examination. Student's answer seems to show that she does not understand the main issue of the question. As such, I attempt to rework her answer, refocusing on the crux of the argument and expanding its supporting evidences, so as to give a more satisfactory discussion.<br />
<br />
<br />
Article:<br />
<br />
<span style="font-family: 新細明體;">
</span><br />
<div align="center" class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: center;">
<span style="font-family: Cambria;"><span lang="EN-US">AMusTCL
Nov 2010 (c)</span><span lang="EN-US" style="mso-fareast-font-family: 新細明體;">:<o:p></o:p></span></span></div>
<span style="font-family: 新細明體;">
</span><br />
<div align="center" class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: center;">
<span style="font-family: Cambria;"><span lang="EN-US">Film
Music</span><span lang="EN-US" style="mso-fareast-font-family: 新細明體;"> Question<o:p></o:p></span></span></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US"><o:p><span style="font-family: Cambria;"> </span></o:p></span></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt 72pt; text-indent: -72pt;">
<span style="font-family: Cambria;"><span lang="EN-US">Question:<span style="mso-tab-count: 1;"> </span>Is film music
the modern version of nineteenth-century Programme music? Select and discuss
TWO </span></span><span style="font-family: Cambria;"><span lang="EN-US"> films from those listed below and refer to any others that are relevant in
your consideration of the</span></span><span style="font-family: Cambria;"><span lang="EN-US"> </span></span><span style="font-family: Cambria;"><span lang="EN-US">question.</span><span lang="EN-US" style="mso-fareast-font-family: 新細明體;"><o:p></o:p></span></span></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt 72pt; text-indent: -72pt;">
<span lang="EN-US" style="mso-fareast-font-family: 新細明體;"><o:p><span style="font-family: Cambria;"> </span></o:p></span></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt 72pt; text-indent: -72pt;">
<span lang="EN-US" style="color: red; mso-fareast-font-family: 新細明體;"><span style="font-family: Cambria;">Student version:<o:p></o:p></span></span></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt 72pt; text-indent: -72pt;">
<span lang="EN-US" style="mso-fareast-font-family: 新細明體;"><o:p><span style="font-family: Cambria;"> </span></o:p></span></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt; mso-char-indent-count: 3.0; text-align: justify; text-indent: 36pt;">
<span lang="EN-US"><span style="font-family: Cambria;">Nineteenth-century
programme music evokes the listener a specific experience and conveying
emotions, which is written base on non-music idea, images or events. It invites
audience invoke the imaginative correlation with the music. Similarly, film
music is music that accompanies a film, creating narrative space and gives more
body and depth to the story and characters. In this essay, some examples will
be discussed.</span></span></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt 72pt; text-indent: -72pt;">
<span lang="EN-US" style="mso-fareast-font-family: 新細明體;"><o:p><span style="font-family: Cambria;"> </span></o:p></span></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt 72pt; text-indent: -72pt;">
<span lang="EN-US" style="color: red; mso-fareast-font-family: 新細明體;"><span style="font-family: Cambria;">My editing:<o:p></o:p></span></span></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt; text-align: justify;">
<span lang="EN-US"><o:p><span style="font-family: Cambria;"> </span></o:p></span></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt; text-align: justify;">
<span style="font-family: Cambria;"><span lang="EN-US"><span style="mso-tab-count: 1;"> </span><span style="color: blue;">Nineteenth-century program music </span></span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;">is famous for its expressivity
to narrate a story, or to recall and evoke the relevant</span><span lang="EN-US" style="color: blue;"> experience</span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;">s</span><span lang="EN-US" style="color: blue;"> and emotions base</span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;">d</span><span lang="EN-US" style="color: blue;"> on</span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;"> the storyline and the</span><span lang="EN-US" style="color: blue;"> </span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;">extra</span><span lang="EN-US" style="color: blue;">-music</span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;">al</span><span lang="EN-US" style="color: blue;"> idea</span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;">s that embedded in the programmatic description for the
listeners.</span><span lang="EN-US" style="color: blue;"> </span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;">As such, program music</span><span lang="EN-US" style="color: blue;"> </span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;">claims its communicative legitimacy through the written text,
or program, which, despite the musical sound per se, can offer a larger </span><span lang="EN-US" style="color: blue;">imaginative</span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;"> space for deeper
interpretation. Similarly, the plot, the dialogues, and the moving images of a
particular scene in the movie is also likened to such referential “program”,
which is capable of offering abundant referential meanings to the corresponding
</span><span lang="EN-US" style="color: blue;">music</span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;">, </span><span lang="EN-US" style="color: blue;">creat</span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;">ing an even broader </span><span lang="EN-US" style="color: blue;">narrative
space </span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;">to
the audience. From this sense, the on-screen visual “program” of a film becomes
an indispensable guidance to the understanding of the supporting music. As such,
film music, to a certain extent, can be said to be the modern version of
nineteenth-century program music</span><span lang="EN-US" style="color: blue;">. In
this essay, </span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;">I will explore three </span><span lang="EN-US" style="color: blue;">examples
</span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;">that
support my claim stated above</span><span lang="EN-US" style="color: blue;">.<o:p></o:p></span></span></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-fareast-font-family: 新細明體;"><o:p><span style="font-family: Cambria;"> </span></o:p></span></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="color: red; mso-fareast-font-family: 新細明體;"><span style="font-family: Cambria;">Student version:<o:p></o:p></span></span></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-fareast-font-family: 新細明體;"><o:p><span style="font-family: Cambria;"> </span></o:p></span></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 1cm;">
<span style="font-family: Cambria;"><span lang="EN-US">Firstly, in the scene “Seeking a Lesson” of
Crouching Tiger and Hidden Tiger, two narrative spaces are created. On one
hand, Master Long is fighting with many swordsmen. The Chinese percussions
strikes fast with rhythmic pattern, this highlights the fighting action. It
evokes audience the imagination of Chinese “Kung Fu” and intensifies the
tension of fighting action. On the other hand, the Chinese piccolo produces a
relaxing folk tune music which plays against the fighting scene. The lyrical,
slow tempo and dance-like music emits an artistic atmosphere. It synchronizes
to the poem reciting and sword waving by Master Long. This elevates a fighting
action to the Art of Sword Dance of traditional Chinese art.<span style="mso-spacerun: yes;"> </span>Thus, the music in this scene tells more than
the music itself and gives more body to the story.</span><span lang="EN-US" style="mso-fareast-font-family: 新細明體;"><o:p></o:p></span></span></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt; text-align: justify;">
<span lang="EN-US" style="mso-fareast-font-family: 新細明體;"><o:p><span style="font-family: Cambria;"> </span></o:p></span></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt; text-align: justify;">
<span lang="EN-US" style="color: red; mso-fareast-font-family: 新細明體;"><span style="font-family: Cambria;">My editing:<o:p></o:p></span></span></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-fareast-font-family: 新細明體;"><o:p><span style="font-family: Cambria;"> </span></o:p></span></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 1cm;">
<span style="font-family: Cambria;"><span lang="EN-US"><span style="mso-tab-count: 1;"> </span><span style="color: blue;">Firstly, in the scene “Seeking a Lesson” </span></span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;">of</span><span lang="EN-US" style="color: blue;"> <i style="mso-bidi-font-style: normal;">Crouching
Tiger and Hidden Tiger</i>, </span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;">the on-screen visual program, the plot, tells audiences about
how Jen skillfully plays her artistic “game of sword dancing”, so as to “discipline”
a mob of fierce, trouble-making swordmen in the eatery. If we want to
understand why the underlying music is displayed in two layers of sound – one is
moving rapidly under the support of the Chinese ethnic percussive ensemble, and
the other one is singing in comparatively slower tempo by Chinese piccolo – we
have to consider the “programmatic” reference on the screen. Indeed</span><span lang="EN-US" style="color: blue;">,</span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;"> the on-screen moving images and dialogues, such as Jen's sword fighting and reciting poem, seem to cry out in two narrative voices for these two musical layers. On the one
hand, the power and strengthen of the sword fighting skill can be experienced from t</span><span lang="EN-US" style="color: blue;">he</span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;"> fast moving</span><span lang="EN-US" style="color: blue;"> Chinese percussion</span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;"> repeated in constant rhythmic
pattern</span><span lang="EN-US" style="color: blue;"> </span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;">intensify the pace and strength
of the fight</span><span lang="EN-US" style="color: blue;">. </span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;">On the other hand, </span><span lang="EN-US" style="color: blue;">Jen 's dexterity and elegant gestures are exhibited through the
</span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;">music of the slow-moving </span><span lang="EN-US" style="color: blue;">Chinese piccolo </span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;">folk tune. Such musical effect can likely elicit </span><span lang="EN-US" style="color: blue;">a </span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;">sense of </span><span lang="EN-US" style="color: blue;">relax</span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;">, effortless spirits in
audiences, showing Jen’s mastery of the art of sword fighting</span><span lang="EN-US" style="color: blue;">. </span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;">Interestingly, this</span><span lang="EN-US" style="color: blue;">
dance-like </span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;">tune, accompanying with Jen’s recitation of a traditional
8-line poem, seems to creates an imagined dancing stage, on which only Jen the artistic dancer is swinging freely
to and fro like a bird hovering in the sky.<o:p></o:p></span></span></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 1cm;">
<span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;"><span style="font-family: Cambria;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 1cm;">
<span style="font-family: Cambria;"><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;">In fact, to many who know Chinese traditional culture, reciting
poem is an intellectual activity which is usually found in the social
gatherings of ancient literati. These people view sword dancing and poem
reciting is a welcoming entertainment. As such, using slow-wind but fast-percussion
ensemble of the folk musical style of northwestern China in this scene is a
wonderful setting to express how</span><span lang="EN-US" style="color: blue;"> </span><span lang="EN-US" style="color: blue; mso-fareast-font-family: 新細明體;">skillful Jen is in
sword fighting, and therefore, she can easily give a “lesson” to the swordmen
and teaches them what is meant by art of sword fighting.<span style="mso-spacerun: yes;"> </span>Although the audiences may think that the
music is expressing a fierce fighting on the surface, however, by referencing
the visual program reference, their understandings may be greatly adjusted. If
no “program” is provided on-screen for reference, we may misunderstand the underlying ideas of
the music, even of the scene. From this view, film music as a modern version of
program music is undeniable.<o:p></o:p></span></span></div>
<span style="font-family: 新細明體;">
</span><br />
<span style="font-family: 新細明體;"></span><br />
<span style="font-family: 新細明體;"></span><br />
<span style="font-family: Times, "Times New Roman", serif;">The above reworking version (a part of the original essay) is only a suggestion that may help student to understand how to cope with the main issue and how to organize and present the points in a reasoning manner.</span><br />
<span style="font-family: Times, "Times New Roman", serif;"></span><br />
<br />
<span style="font-family: Times;">David Leung (theorydavid)</span><br />
<span style="font-family: Times;">2014-10-16 (published)</span><br />
<span style="font-family: Times;"></span><br />
<span style="font-family: Times;"></span><br />
<span style="font-family: Times;"></span><br />theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.com0tag:blogger.com,1999:blog-7061534489530460113.post-29520668964036584992014-10-11T00:27:00.002+08:002014-12-31T21:44:13.965+08:00Analysis of the Music Used in "Crouching Tiger and Hidden Dragon" -- Reworking on the Summary<span style="font-family: Times, "Times New Roman", serif;">Foreword:</span><br />
<span style="font-family: Times, "Times New Roman", serif;"></span><br />
<span style="font-family: Times, "Times New Roman", serif;">The following writing is not a complete article with appropriate argument. It is originally written by a student who attempts to summarize what she has learnt from the film music analysis lessons.</span><br />
<span style="font-family: Times;"></span><br />
<span style="font-family: Times, "Times New Roman", serif;"></span><br />
<span style="font-family: Times, "Times New Roman", serif;">Although the draft contains many grammatical errors and some ideas cannot be clearly explained, the writing direction and ideas are quite good in nature. It is worth to rework on this incomplete writing, though there is absent of the argument.</span><br />
<span style="font-family: Times;"></span><br />
<span style="font-family: Times, "Times New Roman", serif;"></span><br />
<span style="font-family: Times, "Times New Roman", serif;">In fact, analyzing musical sound and transforming it into words is not that easy as one think. The formal analysis, which involves using many jargon-like symbols and signs, is not sufficient enough for such writing to general readers. The following reworking essay can, perhaps, provide a valuable reference for readers who not only want to write musical analysis, but also want to understand the musical meaning of some particular scenes. </span><br />
<span style="font-family: Times;"></span><br />
<span style="font-family: Times, "Times New Roman", serif;"></span><br />
<span style="font-family: Times, "Times New Roman", serif;"></span><br />
<span style="font-family: Times, "Times New Roman", serif;">Article:</span><br />
<span style="font-family: Times;"></span><br />
<span style="font-family: Times, "Times New Roman", serif;"></span><br />
<span style="font-family: Times, "Times New Roman", serif;"></span><br />
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; text-align: justify;">
<span lang="EN-US" style="font-size: 11pt;"><span style="font-family: Times, "Times New Roman", serif;">Summary<o:p></o:p></span></span></div>
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; text-align: justify;">
<span style="font-family: Times, "Times New Roman", serif;"></span><br /></div>
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; text-align: justify;">
<span lang="EN-US" style="font-size: 11pt;"><span style="font-family: Times, "Times New Roman", serif;">Music used in the film
“Crouching Tiger and Hidden Dragon”<o:p></o:p></span></span></div>
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; text-align: justify;">
<span lang="EN-US" style="font-size: 11pt;"><span style="font-family: Times, "Times New Roman", serif;">Main focus on fighting
scenes:</span></span><br />
<span lang="EN-US" style="font-size: 11pt;"><span style="font-family: Times, "Times New Roman", serif;"><o:p></o:p></span></span> </div>
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; text-align: justify;">
<span style="font-family: Times, "Times New Roman", serif;"></span><br /></div>
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; text-align: justify;">
<span lang="EN-US" style="font-size: 11pt;"><span style="font-family: Times, "Times New Roman", serif;">The scene of “Catching
thief” speaks of the first fight occurred between Shu Lien and Jen since Jen
has stolen <i>Wudon</i> master Li’s precious
sword. In order to intensifying the fighting violence, a pair of Chinese drums
is employed to create a series of fast moving percussive sounds. As the level
of excitement is raised, the tempo and volume of the drum <i>ostinato</i> increase simultaneously until reaching the climax. At this
moment, audience’s emotion is also pushed up to the zenith. Such frenzy is
achieved by means of the percussive drum, which is able to create a
contrapuntal two-part texture to multiply the hit points of two fighters'
actions. In addition, the familiar percussive sonority of Chinese drum, to many
audiences, is easily associated with the activities held by traditional Chinese
martial art school, such as lion dancing, or free-fighting competition. Tan
Dun’s idiosyncratic use of such timbre purports not only to express his wanting
to parallel music with the fighting mood of the scene, but also his ambition to
exhibit an oriental characteristic of traditional Chinese <i>Kung Fu</i> to the locals as well as the foreigners.</span></span><br />
<span lang="EN-US" style="font-size: 11pt;"><span style="font-family: Times, "Times New Roman", serif;"><o:p></o:p></span></span> </div>
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; text-align: justify;">
<span style="font-family: Times, "Times New Roman", serif;"></span><br /></div>
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; text-align: justify;">
<span lang="EN-US" style="font-size: 11pt;"><span style="font-family: Times, "Times New Roman", serif;">In the scene of “Dark
Cloud”, Jen’s comb is robbed by Lo and she is eager to get it back. So she
chases Lo and fights with him without noticing that this fight has already
ignited her candle of love, which is suppressed in her inner heart for many
years. Here, the music is designed in two layers of sound of distinct styles.
The first sound layer makes use of the traditional native instrument, <i>yun</i>, to produce a lively, pleasant, and
exotic folk dancing tune. The second one is a layer of rhythmic sound played by
hand drums and other percussive ensemble as the accompaniment moving in
steadily pulsation. To audience, the use of two sound layers is rich in
expressive meanings. On the one hand, a rapid detached sound is created by the
drums to enhance the power and violence of the fighting, creating many hit points
to intensify the fast moving images. On the other hand, a sense of romantic
feeling emanates from the dancing tune, which is composed by using the Xian
Jiang folk scale to highlight a special feature, the augmented 2<sup>nd</sup>
intervallic flow, in order to soften the vigorous excitement of the fight. In
addition, the native plucking instrument, <i>yun</i>,
is also capable of producing a quite unfamiliar timbral color, seemingly to
inform audience that this love affair between Jen (high social status as
aristocracy of mainland) and Lo (low social status as bandit of ethnic
minority) is an unequal exotic love. Indeed the minority dance tune consists of
the both metrical regularity and spontaneous flexibility, aiming to support
certain lively and vividly gestures in the folk dance. Since dancing always
reminds audience of a cheerful and happy occasion in many traditional festival
activities, such as social gathering for youth to search for lovers or
celebration of harvest, of the ethnic minority, the tune used here can fantastically
romanticize the scene, transforming covertly the hostile tension to a lovely
tender occasion, in which the two lovers can pour out their mutual admirations
to each other without using a single word. <o:p></o:p></span></span><br />
</div>
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; text-align: justify;">
<span style="font-family: Times, "Times New Roman", serif;"></span><br /></div>
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; text-align: justify;">
<span lang="EN-US" style="font-size: 11pt;"><span style="font-family: Times, "Times New Roman", serif;">In the scene of “Seeking
a lesson”, the composer has adopted a traditional folk musical style of
Northwest China – music of slow-blowing wind with fast-striking percussions for
instrumental ensemble. Jen exhibits her artful sword fighting skill to give a
lesson to a large group of provocative swordmen in the restaurant. Here, the
meaning of using the traditional folk pattern to accompany the scene is similar
to that of the scene discussed above. Two opposite layers of sound produced by
the ethnic folk ensemble, again, are able to express a musical pun to the
audiences. On the one hand, the striking percussive layer highlights the
fighting actions, enlivening audience’s tensions to the moment of frenzy. On
the other hand, the comparatively slow-moving Chinese piccolo solo tune
displays a glamorous image replete with free, relax, yet artful, gestures. At
this very instant, the warrior Jen has seemingly been transformed to both of a
graceful dancer and a sagacious poet: bouncing to and fro and flaunting her
elegant figure at the one time, reciting lines of a beautiful poem and waving
her sword dexterously like a butterfly fluttering and dancing amid the
ferocious swordmen at the other. It is definitely an appealing traditional
Chinese art of sword dance performance. Here, for this fighting scene, director
Li On tends to elucidate a message to audience that Jen’s mastery of sword
fighting art is likened to the entertaining subjects in an ancient literati
gathering, which always contains poem reciting and sword dancing to enliven the
party. To those literati, these intellectual “games” are so easy, so artistic. </span></span><br />
<span lang="EN-US" style="font-size: 11pt;"><span style="font-family: Times, "Times New Roman", serif;"><o:p></o:p></span></span> </div>
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; text-align: justify;">
<span style="font-family: Times, "Times New Roman", serif;"></span><br /></div>
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; text-align: justify;">
<span lang="EN-US" style="font-size: 11pt;"><span style="font-family: Times, "Times New Roman", serif;">The final discussion
centers on the scene about Li fighting against Jen in the bamboo bush.
Interestingly, the music is designed in sectional form of a ternary like A, B, and A
Sections. While the ethnic wind instrument <i>bawu</i> playing the theme song melody of “Love Before Time”, which is
quite independent of the moving images and moods, the A-melodic music accompaniment in B section implies certain the <em>Buddha</em> philosophical meaning to the scene. Music of these two sections narrate a
voice replete with meanings. In A section, besides the thematic melody of "Love Before Time" is played by <em>bawu</em>, the supporting wind accompaniment plays some glissandi occasionally in slow tempo, going hand in hand with the moving strings of the repeated notes pattern, the <i>ostinato</i>. The accompaniment seems going non-directionally. Without a clear
and specific goal, the music now creates an effect just matching with the two
fighters rapidly swinging to and fro on the top of the bamboo trees without
putting a foot on the firm ground. This A-melodic setting accompaniment forms the B section continually after the main theme song finishes it first murmuring of the fate of Li and Jen's encountering. In fact, fighting in the bamboo bush
pervades both of the religious and symbolic meanings. Since bamboo tree,
according to the “Zen” philosophy, always symbolizes, an “enlightenment”, or
“awakening” from the “secular mediocrity” to the “transcendental Buddha”, Li
chooses to fight with Jen inside the bamboo bush aims to give her a moral
lesson, or in the other word, to “awaken” her from going astray back to the
right way through the Way of Sword. Music used here contributes to soften the
violence of the fighting, bringing much sublime Buddha philosophical message to
audience. In addition, the thematic <em>bawu</em> melody of “Love Before Time” murmurs in A section is used not for
supporting the fighting. Instead, it aims to create a musical voice seemingly to narrate a different
story to the audience. If the non-directional string glissandi in the B section is
voicing the idea of “Zen – Awakening” to audience, the familiar tune of the
theme song “Love Before Time” will undeniably speak in the second voice to notice the
audience that this “awakening” lesson is doomed to be a failure, since it is not
in the right time and the right place. Master Li’s arduous attempts cannot affect the
wild, arrogant girl. His showing of love toward Jen as his <i>Wudon</i> disciple is futile. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; text-align: justify;">
<span lang="EN-US" style="font-size: 11pt;"><br /><span style="font-family: Times, "Times New Roman", serif;"></span></span></div>
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; text-align: justify;">
<span lang="EN-US" style="font-size: 11pt;"><br /><span style="font-family: Times, "Times New Roman", serif;"></span></span></div>
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; text-align: justify;">
<span lang="EN-US" style="font-family: Times, "Times New Roman", serif; font-size: 11pt;">Finished</span></div>
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; text-align: justify;">
<span lang="EN-US" style="font-size: 11pt;"><br /></span><span lang="EN-US" style="font-size: 11pt;"><br /><span style="font-family: Times, "Times New Roman", serif;"></span></span> </div>
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; text-align: justify;">
<span lang="EN-US" style="font-family: Times, "Times New Roman", serif; font-size: 11pt;">David Leung (theorydavid)</span></div>
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; text-align: justify;">
<span style="font-family: Times, "Times New Roman", serif; font-size: 11pt;">2014-10-10 (published)</span></div>
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; text-align: justify;">
<br /></div>
theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.com0tag:blogger.com,1999:blog-7061534489530460113.post-55656040124325343692014-09-26T15:22:00.003+08:002014-10-21T18:57:52.779+08:00Two English Poems: After Reading Elieen Chang's Novel "The Young Marshal"<strong>Foreword</strong><br />
<strong><br /></strong>
<br />
<div style="text-align: justify;">
Comparing to writing Chinese Poem, writing English Poem is very difficult for me!</div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
For my profession is not English Literature, nor my major study in the research department relates to Language. Indeed, I learnt hardly how to write effectively in English during my final stage of PhD study. Perhaps my interest in English writing, not the general grammar learning, is aroused from that time. Although I am not expertise in English, I still enjoy reading poem, no matter the Chinese or the English one. After reading a few pages of the last incomplete short English novel, <em>The Young Marshal</em> (recently published), written by the now-famous deceased Chinese writer Eileen Chang, I was stirred up an intense but unexplainable feeling toward her. You may say that I am quite sympathetic to her writing tones, styles, as well as her life. If I am asked to describe what kind of feeling it is, perhaps, a word may immediately flash in my mind -- "legendary" or "legend". To me, not only it is Eileen's writing a legend for both of her and her readers, but also it is of her own life, spanning from the prosperous decadence of younger years in Shanghai to the desolate seclusion of later years in US, an enigmatic "legend". As such, I have a strong impulse to write something using the theme of "legend". So I attempt to compose a poem, albeit simple and raw, entitled "A Love Legend". </div>
<br />
<br />
<strong>Essay</strong><br />
<br />
<br />
<br />
Poem I:<br />
<br />
<br />
<br />
<div style="text-align: center;">
<span style="color: red; font-family: Verdana, sans-serif;">A Love Legend</span><br />
<span style="color: red; font-family: Verdana, sans-serif;"><br /></span>
<span style="color: red; font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
<span style="color: blue; font-family: Verdana, sans-serif;">They said my love for you is a legend.</span><br />
<span style="color: blue; font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
<span style="color: blue; font-family: Verdana, sans-serif;">I said it is you to make the legend!</span><br />
<span class="Apple-style-span" style="color: blue; font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
<span style="color: blue; font-family: Verdana, sans-serif;">But you choose to reside in your legend,</span><br />
<span class="Apple-style-span" style="color: blue; font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
<span style="color: blue; font-family: Verdana, sans-serif;">Alone I leave the reminiscence in my legend.</span><br />
<span style="color: blue; font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
<span style="color: blue; font-family: Verdana, sans-serif;">If we're asked what is a legend,</span><br />
<span style="color: blue; font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
<span style="color: blue; font-family: Verdana, sans-serif;">Could our love legend is the only legend?</span><br />
<span style="color: blue; font-family: Verdana, sans-serif;"><br /></span>
<span style="color: blue; font-family: Verdana, sans-serif;"><br /></span>
<span style="color: blue; font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
<strong>***********************</strong><br />
<strong><br /></strong>
<strong><br /></strong>
<strong><br /></strong></div>
<div style="text-align: center;">
</div>
<div style="text-align: left;">
</div>
<div style="text-align: left;">
</div>
<div style="text-align: left;">
It is a pity that this rather raw, somewhat a beginner's exercise is not rhymed. So I try to write another one constructed with rhymes. <br />
<br />
<br />
<br />
<br /></div>
<div style="text-align: left;">
</div>
<div style="text-align: left;">
</div>
<div style="text-align: left;">
</div>
<div style="text-align: left;">
Poem II:<br />
<br /></div>
<div style="text-align: left;">
</div>
<div style="text-align: left;">
</div>
<div style="text-align: left;">
</div>
<div style="text-align: center;">
<span style="background-color: white; color: red; font-family: Verdana, sans-serif;">Memory Ebbs and Flows</span><br />
<span style="background-color: white; color: #cc0000; font-family: Verdana, sans-serif;"><br /></span>
<span style="background-color: white; color: #cc0000; font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
<span style="color: blue; font-family: Verdana, sans-serif;">Memory, silently ebbs and flows,</span><br />
<span style="color: blue; font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
<span style="color: blue; font-family: Verdana, sans-serif;">As the evening breeze blows;</span><br />
<span style="color: blue; font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
<span style="color: blue; font-family: Verdana, sans-serif;">May the merry-sorry past go?</span><br />
<span style="color: blue; font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
<span style="color: blue; font-family: Verdana, sans-serif;">Still the old song floats;</span><br />
<span style="color: blue; font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
<span style="color: blue; font-family: Verdana, sans-serif;">Who gaze upon the stream?</span><br />
<span style="color: blue; font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
<span style="color: blue; font-family: Verdana, sans-serif;">within a moment of sigh and dream;</span><br />
<span style="color: blue; font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
<span style="color: blue; font-family: Verdana, sans-serif;">And fish for the hopes as they pass,</span><br />
<span style="color: blue; font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
<span style="color: blue; font-family: Verdana, sans-serif;">Within the limpid watery glass!</span><br />
<span style="color: blue; font-family: Verdana, sans-serif;"><br /></span>
<span style="color: blue; font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
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These two poems is my first attempt of writing English poem. To me, it is not that important whether these two poem are qualified as poetry or not, or it is beautiful or not. The mostly important is that they will remain in my reminiscence throughout my life, just like a seed of a flower sleeping in the soil, and waiting for its growth, as time goes by.<br />
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<strong>Finale</strong><br />
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David Leung (theorydavid)</div>
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2014-09-26 (published)</div>
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theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.com0tag:blogger.com,1999:blog-7061534489530460113.post-86202044508467149492014-09-19T19:10:00.002+08:002017-12-29T09:31:04.435+08:00怎樣才算是.......最喜歡的?前言: <br />
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朋友說想了很久,也不知道甚麼是最喜歡的。我相信她說這話時,是正在考慮新學年的選科問題。我想,她思索時也同時考慮到起完成學業後,如何選擇工作,想做甚麼職業等等的問題。或會問: 自己的路該怎樣走呢? 但感情生活又如何? 我最喜歡的人應是怎樣的呢? 會和他結婚嗎? 要組織家庭嗎? 會喜歡生兒育女,安穩做個家庭賢妻,好媽媽,又或是成功的職業女性嗎? 這真是無盡的煩惱啊! 要知自己的年齡都差不多,年輕時的激情也看似隨風逝去,橫看這個所謂人生,簡單來說,就是一長串的選擇吧........。<br />
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不錯,我們從哇哇落地的那一剎,每人都主動地和被動地要去面對很多很多,或大或小的決擇,直到最後一口氣為止。可是,我們的決定是否就一定要和我們最喜歡的掛勾呢? 問自己最喜歡的是甚麼時,是否就一定意味到這就是我們唯一要選擇麼?<br />
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這的確是沒有一定答案的問題。但我想,人生在世,很多時候,自己找到最喜歡的,也不一定是我們最終的選擇。不是最喜歡的,最終卻是自己所選的。甚至有時是最初不大喜歡,後來竟慢慢變得是自己最喜歡的..............。<br />
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或許,如何履行已作出的決擇,比起找尋哪才是真正喜歡的更為重要。<br />
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矛盾,無奈,也算是人生啊!<br />
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正文:<br />
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說到最喜歡的,我就想起了許冠傑的一首流行曲歌的歌詞。這首歌叫作 "最喜歡你"。王馨平在她最近的大碟裡用重新的編曲重唱。很有趣的是,林振強填的詞,並沒有指明這個 "你" 一定是情人,聽者也不一定視這曲是首浪漫情歌。更甚的是,這首歌的原本 MTV,情節是有關許冠傑和他那可愛小 puppy 狗一起玩樂的情景。就連原版 CD 封套也是許冠傑和他的小狗,而背景就是一片藍天白雲和一望無際黃沙的海灘。這散發出來給人的感覺是消遙的,是自在的,是愜意的。這就是最喜歡的............皆因有 "你"。 。。。。。。<br />
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歌詞很值得知音細嚼,現記錄如下:<br />
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<span style="color: blue;">愛看天上鳥飛</span><br />
<span style="color: blue;">愛看海浪跳起</span><br />
<span style="color: blue;">亦愛望星空千里</span><br />
<span style="color: blue;"></span><br />
<span style="color: blue;">但我更加喜愛踢著浪花</span><br />
<span style="color: blue;">跟你望雨點紛飛</span><br />
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這些活動也是我最喜歡的。不過,生活迫人,也忘記上一次做些活動時是幾時了。<br />
是十六歲時嗎? 好像只能往記憶處追尋。好像是跟同學朋友們在長沙的海灘,那時剛好考完會考,一起去宿營。<br />
依稀記得,那是在日落時玩海浪,雖仍有幾滴雨點,還用腳踢著滾滾浪花,好不寫意。<br />
沒過多久,大家都各奔前程。已沒有聯絡幾十年了。<br />
現在只剩餘那份淡淡回憶,和那份真摯情懷吧。<br />
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這些事,是我最喜歡的.....<br />
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副歌:<br />
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<span style="color: blue;">原因好簡單 皆因你真</span><br />
<span style="color: blue;">天生不會做戲</span><br />
<span style="color: blue;">永遠也做回自己</span><br />
<span style="color: blue;">原因好簡單 開始至今</span><br />
<span style="color: blue;">天天雙眼亮起</span><br />
<span style="color: blue;">皆因所見是你</span><br />
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**************<br />
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我很喜歡 "真" 的人,因可以作我的朋友。有時這些朋友可能缺乏所謂世故式的面面俱圓,或比較自我為中心。不過,與其天天跟那與你做 "戲" 的人相處,倒不如找個比較簡單的好一些。你不用天天帶上面具去面對這樣的人。要知用機心去算計每一日的相處是很費心力的。最好就是英語所說的 "guileless" 的人。<br />
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這類朋友,也是我最喜歡的..........<br />
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如果這個最喜歡的一定和愛人有關,那麼,怎樣的愛人才算符合條件呢?<br />
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要思考這問題的答案,使我不禁想起二十年代美國小說家 O' Henry 的一篇我最喜歡的短篇小說 -- <i>聖誕禮物</i>。在這裡,我只能說,誰看完這個故事後,總該有一點啟發。<br />
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<span style="color: blue;">小說的主人公是一對很貧窮,但卻很恩愛的夫妻。他們都是傾盡自己地為對方著想的,深愛著對方。</span><br />
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<span style="color: blue;">故事背景是二十年代美國的大蕭條時候。在這個年代生活,是沒有甚麼所謂的個人理想,有的就只是三餐糊口的偉大願望吧了。這對貧賤夫妻真的是百事皆哀。</span><br />
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<span style="color: blue;">聖誕臨近了,做丈夫的,和做妻子的都為再沒有餘錢去為對方買一份充滿濃情蜜意的聖誕禮物而發愁。</span><br />
<span style="color: blue;"></span><br />
<span style="color: blue;">丈夫可以勉強做的,就是賣了他那已三代保存下來的黃金陀錶。宅的紀念價值就不用多說了,但如果賣了,如何對得起那已過世爸爸的承諾。畢竟自己曾應允過永遠都不會,也不能賣。可是面對最喜歡的人,伴隨了自己這麼多年,也沒有吃過一口安樂茶飯。對眼前的人,也不能信守誠諾,讓她一生幸福,還說甚麼對已死的人信守諾言。算了! 就先賣了這錶,將來有錢時,才想辦法買回來。</span><br />
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<span style="color: blue;">拿到這一點兒錢,可以買甚麼禮物給她呢? 是了! 她最漂亮,引以為傲的長長秀髮,正需要一套全新的,名貴得配得起她那秀髮的髮梳飾品。這樣,她就可以好好打理頭髮,彰顯出她那天生的動人氣質。</span><br />
<span style="color: blue;"></span><br />
<span style="color: blue;">就這樣,丈夫買了那名貴的髮梳飾品作為禮物。</span><br />
<span style="color: blue;"></span><br />
<span style="color: blue;">但妻子可以怎樣做呢? 她並沒有三代留下值錢的東西可變賣。看看鏡子,又想想。想到他大半生都為生計奔馳。在這個年頭,坦白說,才幹都不重要。最重要的是運氣。別人說,如果能在聖誕節時,送給自己最喜歡的人一份禮物,他這年就會好運了。但甚麼最能匹配他呢? 他最珍貴的,最有價值的,還就只有他那三代單存的黃金陀錶。但是錶鍊也陳舊了,彰顯不出這錶的氣派和魅力。</span><br />
<span style="color: blue;"></span><br />
<span style="color: blue;">是的,絕不能讓最喜歡的人不快樂地過這個聖誕。但錢呢? 鏡子裡的倒影照出了自己焦慮的臉容,同時也影照出那烏黑的長長秀髮。是了,就這樣辦吧,可變賣這個。這個年頭,上流社會,有錢名人都時興戴假髮,而假髮的製作是需要真髮。所以,漂亮的,幼長的真髮可以值一點錢。</span><br />
<span style="color: blue;"></span><br />
<span style="color: blue;">就這樣,妻子也買了那昂貴的黃金錶帶作為禮物。</span><br />
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<i>聖誕禮物</i>這故事就大概是這樣。我們試想想當他夫妻倆互送禮物給對方時的感覺是怎樣。<br />
能感動你心的,算不算是最喜歡的呢?<br />
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怎樣才算是最喜歡的...........人 (如是愛人)?<br />
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O' Henry 的故事簡單地告訴我們一個很容易忽略的道理。這就是:<br />
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就在當下,誰是你甘心樂意地願意為 他 / 她 付出所有,為之而犧牲的,就是你 / 妳在當時最喜歡的..........最喜歡的..........人。<br />
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但最喜歡的,有時可以不是指向人,因同樣原則也可以應用在物,或其他東西上,如理想,興趣等。有朝當 你 / 妳 發現那願意花上自己很多的不便,犧牲更多的資源,心思,時間的人或物出現時,那正是你 / 妳尋到的最喜歡的了...........。<br />
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全文完<br />
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David Leung (theorydavid)<br />
2014-09-19 (published)theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.com0tag:blogger.com,1999:blog-7061534489530460113.post-35959596622018867222014-09-18T21:28:00.002+08:002014-10-01T01:45:36.124+08:00AMusTCL Film Music 試題的迷思 - Voicing in the "Other" Voice<div style="text-align: justify;">
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<span style="font-family: Arial, Helvetica, sans-serif;">The students' results of the film music question in the last May AMus examination were not satisfactory. Many complained severly that the question was very tricky.That the question looks easy in the surface when the students encounter with it at the first moment, in my opinion, is the underestimation of their realization of what is meant by "innovative and new". Indeed, the examination results reveal the fact that this question is proved to be more difficult than the student preliminarily expect. The following discussion is not focused on seeking a perfect definition or answer for what is artistic "innovative" and "new" for film art. But, rather, it only reflects my contemplation of a moot issue about artistic creation and aesthetic appreciation for film musical art, which has obsessed me for a long time.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">正文: </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">To define what is meant by "innovative and new" is as slippery as explaining what is art. However, in the broaden sense, we usually commend a product, say, a smart phone, is innovative or new because of its multi-functional capability. This generalization of the term is not unreasonable, even not unconceiveable. To many customers, a phone that is not only for chatting but also for working as a personal computer or music player is already a new and innovative design. You cannot imagine how a phone could work in such a way in thirty years ago. Similarly, every scene of a film speaks of its story and plots in a voice through images, dialogues, and actions on the screen.</span><span style="font-family: Arial, Helvetica, sans-serif;"> But a passage of music, however succinct, can always add a unique extra-voice to that particular scene, forming a multiple web of voices narrating simultaneously. In such case, music definitely can convey more and richer meanings, leaving a vaster and deeper dimension for further contemplation. </span><span style="font-family: Arial, Helvetica, sans-serif;">If the first voice is enhanced directly by the images on the screen, the music narrating behind can be regarded as the second voice. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">In many movies, the former first voice constitutes the fundamental core for the understanding of the plots, going hand in hand with the musical second voice to enhance the moods, the characters, as well as their actions and emotions in the scene. In some occasions, however, this easily neglected musical voice moves against the moods and actions, or at least voicing independently from the dramatic context of that particular scene. In such momentary instance, the music is creating an "other" or "new" voice, expressing a new level of meaning to the audience. Is there any subliminal messages concealed behind the scene? At this time, the "other" voice is creating an expectancy of the forthcoming plots for the audience to speculate. How can this expectation be realized in the later scene? Such an emotional suspense is one of the sources of artistic pleasure. </span><span style="font-family: Arial, Helvetica, sans-serif;">As such, the meaning of the "other" voice is often a trigger for aesthetic contemplation.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Regarding a cliche function of music in a film, say, leit motive (leading motive), a term coined by Richard Wagner for his music dramas in the 19th century, is never failed to appear in many audiences' minds. All film music composers exploit the uses of leit motive. Indeed, the basic function of a leit motive is for unifying the story-line of a film. Every single event is cohered each other when the leit motive is recognized by the audience. However, leit motive used in a film per se is not innovative enough for the creation of film art. We need to step forward to a deeper level by investigating its musical meaning, understanding why it is transformed, and how it elevates the aesthetic meaning of a particular scene to the higher state. The artistic innovation for film art, I believe, is originated from the understanding of the meaning of this musical "other" voice. </span><br />
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;">It </span><span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;">needless to repeat the effectiveness of leit
motive. The power of music can also easily be experienced</span><span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"> when the music is used to create a unique voice in a particular
moment. </span><span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;">One of the exemplars of using transformed leit motives in such an innovative way may be found in <st1:city w:st="on"><st1:place w:st="on"><i style="mso-bidi-font-style: normal;">Casablanca</i></st1:place></st1:city>
(北菲諜影, 1942): the reunion scene. The scene before this one acts in many respects as a
prologue to the reunion scene: the evening after their arrival in the city,
Ilsa and Laszlo go to Rick’s café; after a while Laszlo walks to the bar to
talk with a man, and Ilsa tells a waiter to ask Rick’s friend, Sam, also the
Jazz pianist of the café, to come over to her table. Sam arrives and she asks
him to play “As Time Goes By.” From this point, the audience hears that motivic melody four
times in a row: sung (hummed) by Ilsa, then played and sung by Sam; then heard
twice in the nondiegetic orchestra, first as the slow-motion reaction music in
the oboe (transformed), and then as a slightly distorted (transformed) waltz
when Ilsa refers to Paris in the conversation. Each time the tune is varied in
some ways – not only in orchestration and tempo but also in its stylistic and
aesthetic significations. </span></div>
<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><br /></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;">The first appearance of this now-famous melody in the
film is through Ilsa’s self-humming, and brief wordless singing: instantly it
becomes the love theme as it is literally embodied in her while the audience
sees her in the close up. Here, the interaction of music with images on the screen all
together in the particular instant aims to convey a new meaning to the audience. </span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;">Since the song, a lyrical tune dispersed with droplets of somber memory, is hummed by Ilsa, it is both of
her point of view music, which can conjure her unforgettable, however painful,
memory up, and of a diegetic music voicing to her herself and Sam in the café. </span></span><span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;">Sam’s repeating it
reluctantly but fluently tells audiences that this leit melody has an undisclosed
history, a seemingly ‘perfect, good thing’ associated with it in the
recollections of Ilsa’s and Sam. Is it a love affair of Ilsa with someone else? The audience is supposed to know nothing at this moment. The love story about Ilsa and Rick has not yet been disclosed to the audience. The director employs the technique of flashback for Rick's recollection in the forthcoming scene to re-tell the deepest, yet poignant, romantic love story happened in the past. While the first voice is narrating a general meeting of two old friends in a café, the hidden "other" voice of this self-humming diegetic melody undoubtedly creates a broader space for audiences' numerous speculations.</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><br /></span></span> </div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;">The
suggestion of the undisclosed love affair in Ilsa's humming is powerfully realized her “point of view” recalling voice that immediately
follows a stinger chord, working as a musical punctuation pronouncing in loud volume by tutti orchestra, to dramatize
the moment of the sudden encounter register in the minds of Rick and Ilsa.
The bombarding chord signals the audience that Ilsa is awakened from her deep immersion of the recollection. Again, using a distinctive instrumental timbre, the oboe, for the return of the transformed melody -- </span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;">"As Time Goes By" -- is an appropriate choice. In fact, the oboe voice is capable of eliciting a feeling of missing, perhaps a even more anguish recall of her
unwillingly separation from the ‘distant’ beloved, in Ilsa’s inner heart, as she is so missing of this unrequited love. When being compared with the other woodwind timbres in orchestra, oboe sound is always regarded unique, characterized and heterogeneous in nature because of its double reed color. Together with the slow moving pace,</span></span><span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"> this exotic oboe tune seems narrating to the audience that the immeasurable sorrow of Ilsa is deep rooted in her far off memorable past. Here, the old, already faded out 19th Century Romantic sentiment of longing and yearning is relived again through the innovative use of such a poetic, yet slightly distorted (transformed), leit motive. </span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><br /></span></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;">Finally, the
audience learns where the whole memorable history can be localized – in Paris
(through dialogue), as Ilsa makes a reference to the city and the audience
hears “As Time Goes By” in waltz, however greater distorted, form. It has been widely known that dance of waltz is
beautiful in nature and can easily be associated with a delightful context. But
now it is transformed, or more directly, distorted, in a certain level, seemingly voicing something unusual happened in Paris. The leit melodic theme is distorted in such a way that not only the melodic notes are chromatically inflected, creating a somewhat out-of-tune melody, but also several massive sound blocks are intruded to the originally eloquent tune, bringing the audience a disconcerting feeling. Indeed, the audience can realize later that this distorted (transformed) leit motive speaks of a miserable story between Ilsa and Rick meeting in Paris, which is a tearful but memorable place for both of the lovers. In fact, Paris was the place where Ilsa tasted her both the happiest and bitterest moments with Rick in her life.</span><br />
<br />
<br />
<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"></span><br />
<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;">Compared with the voice crying out from the uneasy, embarrassed conversation among Ilsa, Rick and others, the eerie second voice ("As Time Goes By") murmuring behind seems more important for one to reveal the subliminal message between Ilsa and Rick. Are they previously known to each other? Is Rick the protagonist of Ilsa's recollection? If that so, does such a distorted tune aim to herald a message that the love between
Rick and Ilsa doomed to be a failure? Is their falling in love only a ‘distorted’, yet
beautiful, illusive memorable dream even in the beginning of their first acquaintance?
Here, this "other" voice of the now-famous love theme has already disclosed Ilsa’s sorrowful but
unforgettable story to some extent to the audience.</span><br />
<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><br /><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">While the music in a movie mostly operates together with the characters, their actions and dialogues as the first voice to carry out the basic plots, there is music, at times, works against the scene, creating a second narrative space to speak in an "other voice." The use of music as such is capable of deepening the aesthetic and artistic dimensions of the narrative context of a film. Thus, musical voice is always open up to multiple readings, creating an expectancy of the forthcoming plots for the audience. As I believe, one of the factors to determine whether the music in a particular scene of a film is innovative or new largely depends on the interpretation of how such a musical voice narrates in the "other" voice.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">全文完</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">David Leung (theorydavid)</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">2014-09-18 (published)</span></div>
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theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.com0tag:blogger.com,1999:blog-7061534489530460113.post-17163928953309678722014-05-11T23:37:00.002+08:002014-05-13T02:49:24.723+08:00美在哪裡 - 2: 一篇文章,一首古詩,兩首歌詞<strong>前言:</strong> <br />
<br />
我的母親在十年多前去世。想不到外父母也相繼於年前過身。看來到了我這個年紀,身邊的至親也少不免會相繼離去。為人子女,通常對母親的感情,總比對父親的深一點。最近,每每看著人人都忙於慶祝那個所謂的母親節,不知怎的,心頭總還是滴著昔日的雨點,不禁有點戚戚然。雖看似是全然忘懷,但片片回憶,又像是喚起了我對已過世的母親,那埋藏了多年的感情。<br />
<br />
我就以這篇短文,<em><strong>美在哪裡</strong></em>,再加上兩首粵語歌詞,一首古詩,與知音共享。其中一首歌詞,是作於 1986年的 <strong><em>誰是妳 </em></strong><strong><em>,</em></strong>這首歌是本人自 1983 年學習作曲填詞以來,公開演出的第一首全包處女作,頗有紀念價值。另一首 <strong><em>美在哪裡</em></strong> 也是本人包辦作曲填詞的。雖然題材是春暉,和親情,寫作風格是頗為工整,但或許對很多人來說,主題是有些陳舊老套。 可是,我總覺得這就是我們為人子女的心底聲音。至於 <strong><em>無期 </em></strong>,就是希望道出作為別人兒女的一份緣,願人人學懂珍惜,也是本文的總結。<br />
<br />
<br />
<strong>正文:</strong><br />
<br />
<strong><span style="font-size: large;"> <span style="color: blue;">美在哪裏?</span></span></strong><br />
<br />
<br />
多少年來,我追求美像哲學家追求真理,修道者追求永恆一樣。<br />
<br />
年輕的時候,我唱著山歌,去拜訪每一個原野,問色彩繽紛的野花和小草: "美在哪裏?" 它們低著頭,含羞不語。於是,我只好奔向海洋。<br />
<br />
海,屬於智慧的兒女。她張開寬闊的胸膛來歡迎接我,並且賜給我初戀般的甘美。但從她眼波裏,我只找到神秘和深沉。因此,我向她伸出了告別的手。<br />
<br />
一首首悅耳悠揚的樂韻,在耳邊響起,我年青的身心也漸漸陶醉了,微笑從嘴角滲出來。 蒙納麗莎的低迴淺笑和維納斯的光潔圓潤,也同時誘惑著我流連忘返。這時,我彷彿聽見美的呼喚。<br />
<br />
可是,我很快又失望了。雖然她們是很美,但我並不喜歡。<br />
<br />
馱著滿身疲倦,回到自己的家。母親正用雙手為我燙洗舊衣,我忽然看見了一個柔善的目光,裏面有閃爍著她兒子的影子。<br />
<br />
母親的微笑發出萬道光芒,包圍著原野,包圍著海洋,也包圍著我; 比悠揚的樂曲還要悅耳,比蒙納麗莎的微笑更燦爛,比維納斯的身軀更晶瑩純潔。世間一切的生命,都憑藉著這道光芒而活。<br />
<br />
我尋到美了。在母親的雙手裏,目光裏,笑容裏,我才尋獲到真善美。<br />
<br />
<br />
<strong><span style="color: blue;">歌詞: <em>誰是妳 (1986)</em></span></strong><br />
<br />
誰曾為我,清理拾妥,抽屜衣裳,<br />
誰曾伴我,深愛著我,全為我設想,<br />
是妳伸出誠的手,<br />
為我打開愁的扣,<br />
曾為我,黑夜裡,明亮照亮。<br />
<br />
誰人像妳,不厭萬遍,給我指導,<br />
誰人像妳,幫我令我,能實現理想,<br />
是妳一張柔的臉,<br />
令我一生常歡暢,<br />
明白到,真愛是,不可計量。<br />
<br />
副歌:<br />
<br />
春暉,就似是風,為我吹暖,<br />
深恩,柔善慈愛,長在世上。<br />
今天我擁有,世間美與善,<br />
不再是,不再是,隻影飄鄉。<br />
<br />
春暉,就似是風,令我溫暖,<br />
深恩,無限甜美,明亮百丈。<br />
一生我擁有,愛的美與善,<br />
不怕是,不怕是,隻影飄鄉。<br />
<br />
<br />
誰明白妳,想我念我,給我鼓勵,<br />
完全為我,不計是會,能獲到欣賞。<br />
長夜知花落多少,<br />
萬水千山情不了,<br />
藏在我,心裡是,溫暖太陽。<br />
<br />
<br />
<br />
<span style="color: blue;"><strong>歌詞:</strong> <strong><em>美在哪裡 (1988)</em></strong></span><br />
<br />
流浪,像浮雲踏遍處處,<br />
冀望能,尋獲到真愛與美。<br />
誰料到,這俗世充滿鬭爭,<br />
卻找不著溫暖,共美善真摯心。<br />
<br />
馱著,是疲累共意冷慨嘆,<br />
我默然,重回到家再次看看。<br />
慈母正為我織補破衣,<br />
聽爸爸在低訴,是聲聲關注。<br />
<br />
副歌:<br />
<br />
浮名利祿,或會能,或會能擁有,<br />
慈祥善待,卻不易,卻不易找到。<br />
原來人生,不再是,不怕是,風吹雨打,<br />
燦爛光茫,已在笑聲裡呈現。<br />
祈求能珍惜,真愛內,關注內,一點美好,<br />
傳頌這愛心,<br />
今生裡能讓,<br />
這美善寸心銘。<br />
<br />
<br />
一篇短文,兩首歌詞,意思也是甚為顯淺。但現在看來,歌詞那份記載,竟也變成真的。<br />
<br />
我寫了歌曲之後,過不多久,真的在外飄泊打滾了一段時間,沒有回家。及後回來了,爸爸一見我面,雖口中沒有責怪,卻暗暗地道: "這些年頭,你媽媽很掛念你,應該多打電話回家嘛!" 我聽後也耿耿於懷好一段日子。誰料沒過多久,母親就癌病去逝,我也不能做甚麼了。<br />
<br />
因此,我也不準備為這兩首詞再加評論。但心知,埋藏了的這份感情卻倒是真的。<br />
現在寫下來,期望與知音人,,有緣人,共享之,共惜之,共勉之。<br />
<br />
樹欲靜而風不息..........<br />
<br />
不論是何種情,何種愛,<br />
<br />
總是緣.........<br />
<br />
能做別人兒女的父母是緣,<br />
<br />
能成為別人的兒女也是緣,<br />
<br />
能有可以守護的人也是緣,<br />
<br />
所以.................<br />
<br />
期望珍惜每一份緣...........<br />
<br />
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<br />
<strong><span style="color: blue;"> </span><span style="color: blue;"> <u>無期 (2014)</u></span></strong><br />
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<br />
<strong><span style="color: blue;"> 世事有期還有期</span></strong><br />
<strong><span style="color: blue;"></span></strong><br />
<strong><span style="color: blue;"> 緣來緣去夢依稀</span></strong><br />
<strong><span style="color: blue;"></span></strong><br />
<strong><span style="color: blue;"> 惜緣珍緣勤珍重</span></strong><br />
<strong><span style="color: blue;"></span></strong><br />
<strong><span style="color: blue;"> 心事無期了無期</span></strong><br />
<strong><span style="color: blue;"></span></strong><br />
<span style="color: magenta;"><br /></span>
<b><span style="color: magenta;">緣,是值得珍惜和守護的...................</span></b><br />
<br />
<strong><span style="color: blue;"></span></strong><br />
<strong><span style="color: black;">全文完</span></strong><br />
<strong></strong><br />
<strong></strong><br />
<strong>David Leung (theorydavid)</strong><br />
<strong></strong><br />
<strong>2014-05-11 (published)</strong><br />
<br />theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.com0tag:blogger.com,1999:blog-7061534489530460113.post-47487854185495789832014-03-07T00:40:00.000+08:002014-03-09T15:02:54.433+08:00兩首值得懷念的粵語流行曲歌詞前言:<br />
<br />
二十多年前,還沒有開始學習藝術音樂的寫作,我就醉心於寫作粵語流行曲,並填上中文歌詞。當時還加入了業餘填詞人協會,認識了林夕,小美等人。我當時還是彈奏電子琴,所以,對粵語流行曲的興趣是十分濃厚。我的中文寫作,自我衡量,並不算很好,雖然也不算是十分差。可是,這也沒有妨礙我從事寫作。盧國沾老師當時很提倡非情歌的粵語歌詞寫作,所以,我當時也填了不少非情歌歌詞。還參加了一些社區舉辦的新曲新詞作曲比賽,如城市民歌比賽之類。最近,跟弟兄朋友談開粵語歌填詞,所以,我就想起我寫過的以下兩首歌詞,一首是舊曲新詞,另一首是本人一手包辦的新曲新詞。雖是多年前寫的,現在重新看看,仍算是自己較滿意的成熟作品,值得懷念一番。<br />
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正文:<br />
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還是先看看第一首歌詞。歌曲名稱是: 漫畫家的悲哀,曲調是臺灣一首校園民歌,也忘記了誰是作曲者。<br />
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這首歌曲,顧名思義,主要是寫身為漫畫家的一份悲哀。這也可說是所有藝術創作者的悲哀。有朝一日,假如你發覺你的創作力盡失,意念已窮,那怎辦? 坦白說,如果我們的創作是職業,每天都要控空心思,去想出新奇意念,,隨著時間過去,年歲日長,說不定我們也會上演一幕漫畫家的悲劇,不足為奇。</div>
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我的感覺也是,年輕時的動力精力都似無窮無盡,永用不完。但隨著日子過去,年華漸逝,遇到挫折多了,夢想也慢慢遠去,創作新意念的樂曲的意慾,都似消失於無形。我教學倒沒有問題,卻常常對學生自嘲說,我正等待突破,到了晚年,我說不定有第三時期風格,即晚期風格的作品出現。所以,慢慢期待吧!</div>
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以上的歌曲,我最喜歡的一句歌詞是: "讓冷諷,化做懷念"。</div>
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當你的作品真的沒有甚麼新意念出來,面對的當然是冷嘲熱諷。這時,我們又可以做甚麼呢?</div>
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除了將別人'明窒' 的說話,硬吞下去,還可以做甚麼?</div>
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能將冷諷化做懷念,是更昇華的做法。可是,在自嘲之餘,這也更顯出藝術家內心深處的悲哀。</div>
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人生,又何嘗不是如此!</div>
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夢想,又何嘗不會改變!</div>
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第二首歌曲,歌名叫做 "最後一遍"。</div>
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這首歌是描寫一個即將畢業的學生,正準備踏出人生的第一步,到社會工作。主人公也深知現實是,社會是個大染缸,純真的校園生活從始不再。所以他也說: "恐怕青春豪情不會再現"。這時的他的內心,是充滿忐忑不安,但他也要勇敢地面對,試試全程投入這新的人生旅程,所以詞中有一句這樣說: "昨天的我,似在叫囂中蛻變"。我寫這詞時,是用點的手法。描寫主人公一剎那的感情世界。這是盧國沾老師很喜歡的寫詞手法。是忠於那一剎的感情真摯。歌詞也用了一個含有象徵性的舉動,就是閱讀在學時的作業筆記最後一遍,然後明天就迎向人生的新的一頁。歌名就是以這個閱讀命名的。'最後一遍',就是這個意思。</div>
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這首詞,我隱隱記得,在一個新曲新詞比賽的初賽裡,拿過六個評判裡兩個給的第一名,一個給的第三名。雖然最後是輸了比賽。</div>
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我很喜歡歌詞中的一句,就是 "戲中主角會合我飾演?"</div>
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人生的過程中,無論喜歡與否,我們都要扮演不同的角色。如果有一日,你撫心自問,你能否將命運交予你演的角色演好,你的答案是甚麼?</div>
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很好,還是差勁?</div>
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天知曉! 不過,我人生的角色也真不討好。或許有盡過力,但肯定的是,有一些角色演得真差勁。可能是性格使然。</div>
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無論是順景逆景,我們內心的真正豪情,也無可避免地讓 '浮光如夢' 的'閃跳霓虹' 添上冼鍊,或者,更差勁的是,我們的真正豪情已被銷磨得一光二淨了。</div>
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豪情不再,是我暮年的心聲。。。。。。。</div>
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社會,真的是大染缸? 抑或是自己的慾念才是汚染的來源?</div>
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但我竟在二十多年前已寫出來了。</div>
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無論是漫畫家的悲哀,又或是豪情不再,也是自己的人生。</div>
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也是屬於自己的。</div>
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人生,其本質是無數的選擇。要穿上的角色,無論願不願意,喜歡與否,也是自己的選擇。</div>
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所以:</div>
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別人說我們一生是幸運,還是不幸,這並不重要。最重要的是,我們曾選擇過。</div>
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"It does not matter that our life are regarded as the fortunate or the unfortunate. It matters only if we have made the choice." -- David Leung</div>
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全文完</div>
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David Leung (theorydavid)</div>
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2014-03-07 (published)</div>
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theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.com0tag:blogger.com,1999:blog-7061534489530460113.post-80031380265905664042014-03-06T22:52:00.000+08:002014-03-13T23:51:17.807+08:00文字何價? : 電影 "偷書賊" 觀後感前言:<br />
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踏入了2014年,還沒有寫過第一篇文章,皆因在朋友幫助我下,正設計我個人的新網站 (<a href="http://www.davidmusiccenter.com/">www.davidmusiccenter.com/</a>)。我希望的網站不是純為做宣傳,買廣告,找生活。所以,我的網站也收錄了我這兩年多所寫的大部份文章和詩詞。將來,我也會在新網站陸續發表我已前出版過的有關音樂的學術論文。<br />
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當然,我暫時不準備取銷這個個人網誌。各方好友,讀者,仍然可以透過這個網誌,看我的寫作。不過,我也會同時發表我的文章於私人的網站。因此,我也懇請各方有心之好友,抽空流覽這個新網站,予以支持。私人網站的成立是有需要的。或許有一天,google 會像 yahoo 一樣取銷免費的個人 blogger,如有自己的網站,我的文章就不至於沒有發表的渠道。因為,我是算自己是半個藝術家,作家和作曲家。<br />
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既然開了新網站,是為了延續發表個人的寫作,因此,這新一年的第一篇文章,就以文字為題,自由發揮一番。<br />
電影 '偷書賊',就啟發了我這篇文章。<br />
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正文: <br />
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如果有空閒時,我倒邀請各方好友,去看一套電影名叫 "The Book Thief", 中譯 “偷書賊” 。當然,閱讀原著小說也可。據說小說也是真人真事改編。</div>
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故事背景發生在二次大戰時,一位愛好閱讀,真正了解文字意義的無限與無價的德國九歲小女孩的事蹟。專欄作家高慧然也用了兩天的專欄去談她對這齣戲的感受。</div>
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我早前去看了電影。在看之前剛好收到一位學生的電郵 ,也道出了她對這戲的欣賞,並說這電影很感人。</div>
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電影的中心思想,是道出文字本質的價值。文字是甚麼? 為何能長存於人類歷史當中? 有人類存在,看來就有文字記錄。或許有些人認為,文字只是人與人溝通的一個實體記錄。小學課本常說是因為人在日常生活中,常常忘記了與別人談過的說話,又或對事物的善忘,為了解決這個問題而發明了文字,以此作為實體的記錄和憑據。</div>
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可是,電影再次提醒我們,文字的存在和人類思想的永恆是息息相關,永不分離的。人與動物禽獸的最大分別,就是人類是有思想的,所以思想是無價,也因此,文字同樣是無價 。小女孩無錢買書,所以偷書,就是為了閱讀别人的文字。她深知,如果她懂得閱讀文字,就可以進入别人的內心世界,了解別人的感情和思想。這價值是無其他東西可比擬的。如果她懂寫作,她就可以通過自己的文字,與別人建立一個可以互相共享的思想和感情的世界。這是現代的溝通工具如 whatsapp,wechat,手電等不能取代。</div>
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我且不論這電影是否戲劇化了小說的情節,但好的小說,又或電影,總留有精警的句字或對白,可堪回味。</div>
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戲中或是原作中有一句對白精彩之極。可惜很多看過電影的朋友都錯過了。現願與各位分享。</div>
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戲中的男主角是在大戰期間被 Nazi (納粹德國)追捕的 Jew (猶太人)。他躲在女孩子家中的地牢生活。可能是為了解悶,他每天都鼓勵女孩閱讀,表達和寫作。他每天在不見天日的地牢裡,鼓勵女孩給他描述當天的天氣怎樣。他不準許女孩只直述每天天氣的狀況,如今天天晴,或今天下雪等。他要求女孩用比喻去形容天氣,如今天陰霾,她就要說 "today is thunder dark.",而且他更要女孩用說話式的文字去表達自己在這種天氣下的感覺和情緒。是! 用文字講出自己內心感情。</div>
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他教女孩怎樣用文字表達的方式,和我教學生寫音樂文章都很相似。就是多用比喻去表達,用比較去作樂曲分析。他不止用口頭鼓勵女孩多閱讀,還送了一本空白頁的記事薄給女孩作禮物,鼓勵她要寫作,要用文字記下她自己的思想和感情。但好景不常,Nazi 的蓋世太保要搜屋捉人,為了確保女孩一家的安全,他一定要逃走。</div>
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臨行前,女孩捨不得這個後來是她一生的摯友的離開,就死拉著他的手不放,但男主角(比她年紀大很多) 卻對她這樣說:</div>
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"You never lose me. You can always see me in your words."</div>
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"妳並沒失去我。妳總能在妳的文字中見到我。"</div>
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他說這話的意思,不是單單鼓勵女孩寫下自己對摯友別離的思念。而是提醒女孩,每逢她用文字寫作,每論在寫甚麼的時候,就會想起他這個曾經教導過,鼓勵過自己的摯友。只要女孩繼續寫作,無論他日後是死是生,'他' 是永遠地活著,永遠地陪伴著自己。</div>
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男主角離開後,女孩就發現牆壁上寫著: Writing! (寫作!)</div>
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所以,女孩就鼓起勇氣,用朋友送的空頁薄,開始用自己有限的文字寫起第一篇日記。</div>
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過了不久,現時十四歲的女孩的雙親也在一次空襲中死去了。像很多戰時的孩子一樣,女孩也變成了孤兒。朋友死了,父母也死了,唯一陪伴寂寞的自己,就只有閱讀和寫作。</div>
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這使我想起二十世紀的哲學家維根斯坦就文字的價值就曾這樣評論:</div>
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"文字是思想的載體"</div>
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"Word is the vessel of thoughts." </div>
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在這裡,我也就這句話添意如下:</div>
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"文字不單是思想的載體,也是感情的容器,思念的補償"</div>
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" Word is not only the vessel of thoughts, but also the container of affection, the redemption of the missing." </div>
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女孩子長大後,成為了一位作家,與男主角的友誼,就像她的年歲一樣長久。</div>
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突然,我發覺我喜歡文字和寫作,也與似同感。</div>
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全文完</div>
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David Leung (theorydavid)</div>
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2014-03-06 (published)</div>
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theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.com0tag:blogger.com,1999:blog-7061534489530460113.post-82505269541365411192013-12-13T22:39:00.000+08:002014-01-13T01:30:19.655+08:00物輕情濃<strong>前言:</strong> <br />
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送禮物的確不容易。雖是說物輕情意重,價錢不論。可是,要送得有意義,不論物品是有記念價值或是有實用價值,選擇哪種禮物才能平衡這兩種看法,令其更有心思,卻是頗費精神。因為,禮物如果是強調實用性的,就很難帶有深厚的記念價值。因為這類物品,大多是用完即棄,消失無影,這可真是物過情輕。事實是,隨着時間過去,接受者也很容易忘記誰是施贈者,贈送的人可能不希望結果是這樣。可是,另一方面,禮物如果是以記念性,和表達情意為主的,對接受者也帶來現實的問題不少。因為香港地寸金尺土,擺放禮物一段時間後,就慢慢的發現,家裡就沒有多餘空間可以再放更多。結果禮物又是被收藏在抽屜裡。不過,話得說回頭,這類物品大多是裝飾性,應該是擺放出來才有價值。如果要搬家的話,對於這類禮物,可真是難捨難留。再者,裝飾性的禮物,多數是很有獨特風格品味的。贈送者也不知接受的朋友喜歡與否。單就顏色而論,就考起人。最近,送了一份禮物給遠方朋友,也有很多感觸,原來真是兩難。<br />
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<strong>正文:</strong><br />
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選擇禮物時,費的時間真不少。心想當然最好是同時又有記念性和又實用性的禮品,但價錢又要合乎中道。仍是那句老套話,物輕情濃嘛。所以,花了一段時間挑選,最後是選定了。但問題竟是顏色。總覺得顏色是很屬個人口味愛好的。可是,並不稱楚接受的朋友的愛好和風格,再者,知道朋友是懂繪畫,所畫的畫也不差,至少我覺得幾有個人品味和風格。真沒想過,要選對顏色,是對方喜歡的,竟然是個大大的難題。更不幸的是,這個禮物也很著重顏色和個人品味。如果選錯,接受者可能提不起勁用,這就可惜了。所以,匆匆打了短訊詢問,得到的答案是可看看配搭哩,無所謂的。這可真惨了。答了等於無答。猶豫了好幾個星期,時間也不能再等,就選了自己也大多會後悔的禮品送過去。幾天後,對方收到了,禮貌的道謝。可是直覺告訴自己,顏色是選錯了。純色是錯誤的選擇。選純色就只因記得以往對方曾說過口味是不喜歡複雜,只喜歡簡單。<br />
這時,心想既是自我推許為文人雅仕,隨後便補了古近體詩一首,算是自嘲,也是添意。<br />
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<strong><span style="color: blue;">此物無言卻有情</span></strong><br />
<strong><span style="color: blue;"></span></strong><br />
<strong><span style="color: blue;">盼於寒夜送溫馨</span></strong><br />
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<strong><span style="color: blue;">嫣紅雖未盡君意</span></strong><br />
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<strong><span style="color: blue;">還望展眉露笑聲</span></strong><br />
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詩就寫完了,結果是聽到笑聲與否,都不再重要。贈送禮物,當然喜歡接受者歡顏,不喜歡,又能怎樣。說起討人一笑,也記起很多年前有個朋友,希望跟女朋友見面時,送上一份純心意,不含任何金錢價值的禮物予對方。一方面希望對方意會其濃情厚意,另一方面,也算是給對方一個意外驚喜。原來他想親自為其朋友最喜歡的一首英文歌填上中文歌詞,帶朋友到一個幽靜的地方,然後唱給對方聽,兼向對方表白。當時還未流行 Karaoke,所以做這些安排就頗費心思。首先,當然就是填詞工作。然後就練歌,背歌詞,錄音樂等。問題來了,我朋友是不懂音律,又無文采,怎樣填上能向對方表白之心意之詞呢?<br />
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結果,當然求救於當軍師的我。<br />
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於是,我們就在電話裡一起 (其實全部由本人包辦) 為 Reality 這首當時很流行的英文歌填上了歌詞。<br />
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<br />
<strong><span style="color: blue;">偶遇 (調寄 Reality)</span></strong><br />
<strong><span style="color: blue;"></span></strong><br />
<strong><span style="color: blue;"></span></strong><br />
<strong><span style="color: blue;">是我踫着妳</span></strong><br />
<strong><span style="color: blue;">是我偶遇妳</span></strong><br />
<strong><span style="color: blue;">相識的一刻是無拘</span></strong><br />
<strong><span style="color: blue;"></span></strong><br />
<strong><span style="color: blue;">樂意接受妳</span></strong><br />
<strong><span style="color: blue;">樂意接近妳</span></strong><br />
<strong><span style="color: blue;">願這快樂此世盡記取</span></strong><br />
<strong><span style="color: blue;"></span></strong><br />
<strong><span style="color: blue;">風來不再感困憂</span></strong><br />
<strong><span style="color: blue;">人生總不免多唏噓</span></strong><br />
<strong><span style="color: blue;">能共妳一起進退</span></strong><br />
<strong><span style="color: blue;">尋找每個妙趣</span></strong><br />
<strong><span style="color: blue;">從今去譜寫新詩句</span></strong><br />
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結果如何? 想不到就是這數十年後的翻版。朋友的女友的反應就是,Ha Ha 兩聲.... 幾得意啊! 禮貌的回應一句,就不再提了。禮物的記念價值果真不及實用價值了。朋友真的後悔,就說 "早知買隻戒指送俾佢啦。"<br />
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這事以後,朋友和他的女友拍了一段時間的拖,最後還是分了手。現在,我相信各人都是名花有主,繼續生活。<br />
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所以,對人生的際遇,我還是這句:<br />
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<strong><span style="color: blue;">豈能盡隨人意,但求無愧我心</span></strong><br />
<strong><span style="color: blue;"></span></strong><br />
<strong><span style="color: blue;"></span></strong><br />
<strong><span style="color: black;">全文完</span></strong><br />
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David Leung (theorydavid)<br />
2013-12-13 (published)<br />
<br />theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.com0tag:blogger.com,1999:blog-7061534489530460113.post-56293789000984638762013-12-06T17:21:00.000+08:002013-12-09T18:29:05.978+08:00無題三首: 唐近體詩的新寫作<strong>前言:</strong><br />
<strong></strong><br />
<strong>知道誰是蘇曼殊嗎? 他是近代清未民初時文藝全才的出家詩人,畫家,翻譯家。他精通印度文,日文,英文和中文。我說他也是個多情僧人也不為過。因他的詩集中有 "無題" 八首,都是以愛情為題材的。這正合吾之興緻所在。對我來說,詩不是古人所說言志,剛相反,是言情,是談愛。蘇曼殊情詩全是以唐近體詩寫成,遣詞造句的平仄格律要嚴格執行。吾讀過其詩,感覺有李商隱詩之韻味。蓋商隱之詩,也是以描寫浪漫情懷見稱。無獨有偶,曼殊之詩也喜以 "無題"為題。</strong><br />
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<strong>近月我寫的多是新詩,以語體文寫成,近似優雅的散文風格。可是,知我者,皆了解吾之興趣在於古典文學的韻文,尤喜愛唐近體詩之七絕和宋詞之小令和中調。我以前也為寫過很多這種風格的古詩詞。由於認識之友遠赴國外深造,遂有感而發,即興寫了三首 "無題" 詩以適懷。這三首詩,或多或少,也受杜牧和蘇曼殊詩之影響。</strong><br />
<strong></strong><br />
<strong></strong><br />
<strong>正文:</strong><br />
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<strong>好一句曼殊之詩,此句有云: "<span style="color: blue;">詩成百絕情難寫</span>"</strong><br />
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<strong>我說這 "百絕" 確是一絕。他的 "百絕"是一百首七言絕詩,我說的 "一絕" 是指其前無古 "情",後無來 "愛" 的絕頂好詩。</strong><br />
<strong></strong><br />
<strong>我想我就沒有能力寫一百首七言絕詩。但寫十首,八首就或可勉力試之。</strong><br />
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<strong>近月省悟,吾以往之七絕情詩,不是純為表達詩人主觀的情感世界,總是帶有多有少評論情愛的意味,是哲理性的。例如以下這一首情詩,名為 "悔愛",是寫於十多年前。讀者或可窺悟其中哲理。可說是屬那哲理性的愛情詩。</strong><br />
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<span style="color: blue; font-size: large;"><strong> <span style="color: red;">悔愛</span></strong></span><br />
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<span style="font-family: 新細明體;"><strong><span style="color: blue;"><span style="font-family: 華康新儷粗黑; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">飄幌寒缸對影深</span><span lang="EN-US" style="mso-bidi-font-size: 10.0pt; mso-fareast-font-family: 華康新儷粗黑;"><o:p></o:p></span></span></strong></span></div>
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<span style="font-family: 新細明體;"><strong><span style="color: blue;">悔愛靈丹不愛人</span></strong></span><br />
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<span style="color: black; font-family: 新細明體;"><strong><o:p>詩中所說的 "桃源" 是典故,是指陶潛著名的 "桃花源記"。其中所記,漁夫沒有珍惜留在那個世外桃源的地方。住了數日就返回那戰亂的現實世界。後來,漁夫想找回原路,到桃花源去。可是他也忘了路,悔恨也遲。我是以此典故,暗喻嫦娥偷藥奔月,捨離愛人,換來孤獨一生的悔恨。前兩句就明顯描述詩中孤單的女子,切夜難眠而獨對深深庭園之情景。這是常用的舊式寫作手法。以景溶情,以情溶景。當然,詩中的兩個典故,就不須拘泥於時間顛倒了,因為只為取其意而矣。</o:p></strong></span></div>
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<span style="color: black; font-family: 新細明體;"><strong><o:p>比較之下,我以下有感而寫的 "無題"三首,其中的第二首,就明顯是首情詩。除了刻意用一些疊字修辭來舖排每句句子,製造張力,並使之啷啷上口,其意境在就於表達詩人那一剎那的感情,是散文式的寫法,特意除去了以往那以景入情,以情入景的造意手法。也不用典故,只忠於那一抹的情感真意。哪種寫法較好,就不須拘泥執著。只要是情真意濃,我相信這就是好詩。</o:p></strong></span></div>
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<span style="color: black; font-family: 新細明體;"><o:p><strong>至於其餘兩詩,一首是臨摹杜牧之詩,主題是稱讚青春女子的漂亮,就是全英國也找不到</strong><strong>比</strong><strong>她還美的。另一首是暗諷女子因貪睡而逃學,浪費了大好時光。</strong></o:p></span></div>
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<span style="color: black; font-family: 新細明體;"><strong><o:p>杜牧原詩其中的一句真是深得我心。</o:p></strong></span><br />
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<span style="color: black; font-family: 新細明體;"><strong><o:p>我就變化了這兩句詩,而開始了我這首 "無題" 詩。</o:p></strong></span></div>
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<b style="font-family: 新細明體;"><span style="color: blue; font-family: 標楷體;"><span style="font-family: Times, "Times New Roman", serif;">還是有情還有夢</span></span></b></div>
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<span style="color: blue; font-family: 標楷體; font-size: 22pt;"><span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: black;"><strong>港人常以為男子應日理萬機,學好管理,那能進軍商業金融行業</strong><strong>為找大錢的</strong><strong>,才是真正事業。男子做企業家,商家才是成功人仕。</strong></span></span></span></span><span style="color: blue; font-family: 標楷體; font-size: 22pt;"><span style="color: black; font-family: Times; font-size: small;"><strong>余深受其害,磋砣歲月數十載,換來一事無成,滿身傷痕,一心懊悔。盼餘生可以就此大徹大悟,甘於當個無名詩人,作家和作曲家好了。</strong></span></span><br />
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<b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: 標楷體; font-size: 22pt;"><span style="color: black; font-family: Times; font-size: small;">遂記之......................</span></span></b><br />
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<span style="color: blue; font-family: 標楷體;"><span style="color: black; font-family: Times;"><strong>David Leung (theorydavid )</strong></span></span></div>
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<span style="color: blue; font-family: 標楷體;"><span style="color: black; font-family: Times;"><strong>2013-12-06 published</strong></span></span></div>
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theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.com0tag:blogger.com,1999:blog-7061534489530460113.post-25142111151703707082013-12-02T00:47:00.000+08:002013-12-08T15:16:16.393+08:00鏡子 前言:<br />
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這也是一首新詩作。我還是不喜歡寫太抽象的新詩,這類詩大多用艱澀的字詞,斷層的修辭意念去讓讀者猜度其意。有時,這類詩也不容易上口。我理想的新詩仍是以浪漫派的風格為主。總覺得詩是感動人而寫的。為清楚的表達個人感情和思想,雖用漂亮的修辭,用字也不想太艱深,造句也不想太斷層。以下的詩是 "興" 的寫法。即是古詩所言,賦比興的興。全詩 "我" 這個詩中人物是以鏡子作比喻。"妳" 就是這鏡子一生要守護的人。 鏡子偶然成為 "妳" 妝台上的東西之後常陪伴著 "妳",不須作任何回報。這就是不自私的真愛。<br />
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原文: <br />
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<b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: 標楷體; font-size: 22pt;">鏡子<span lang="EN-US"><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 細明體; mso-ascii-font-family: 新細明體-ExtB;">誰在夢裡是一面鏡子</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: 新細明體-ExtB;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 細明體; mso-ascii-font-family: 新細明體-ExtB;">沉在深遽的海洋底</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: 新細明體-ExtB;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 細明體; mso-ascii-font-family: 新細明體-ExtB;">假如有一天妳拾去</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: 新細明體-ExtB;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 細明體; mso-ascii-font-family: 新細明體-ExtB;">放在妳的妝台上</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: 新細明體-ExtB;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 細明體; mso-ascii-font-family: 新細明體-ExtB;">妳會看見</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: 新細明體-ExtB;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 細明體; mso-ascii-font-family: 新細明體-ExtB;">那靜靜無語的臉容</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 細明體; mso-ascii-font-family: 新細明體-ExtB;">不再是妳的</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: 新細明體-ExtB;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 細明體; mso-ascii-font-family: 新細明體-ExtB;">卻是含着那真</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: 新細明體-ExtB;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 細明體; mso-ascii-font-family: 新細明體-ExtB;">默默</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: 新細明體-ExtB;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 細明體; mso-ascii-font-family: 新細明體-ExtB;">讓妳凝望</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: 新細明體-ExtB;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 細明體; mso-ascii-font-family: 新細明體-ExtB;">偷偷</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: 新細明體-ExtB;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 細明體; mso-ascii-font-family: 新細明體-ExtB;">把妳的夢境銜了來</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: 新細明體-ExtB;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 細明體; mso-ascii-font-family: 新細明體-ExtB;">承受著數不盡的春來秋去</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: 新細明體-ExtB;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 細明體; mso-ascii-font-family: 新細明體-ExtB;">然後</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: 新細明體-ExtB;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 細明體; mso-ascii-font-family: 新細明體-ExtB;">妳會發現</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: 新細明體-ExtB;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 細明體; mso-ascii-font-family: 新細明體-ExtB;">那靜靜無語的影象</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: 新細明體-ExtB;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 細明體; mso-ascii-font-family: 新細明體-ExtB;">重疊著妳的</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: 新細明體-ExtB;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 細明體; mso-ascii-font-family: 新細明體-ExtB;">倒影在鏡子裡</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: 新細明體-ExtB;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 細明體; mso-ascii-font-family: 新細明體-ExtB;">是守護着妳的忠誠</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: 新細明體-ExtB;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 細明體; mso-ascii-font-family: 新細明體-ExtB;">讓妝台前的妳</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: 新細明體-ExtB;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 細明體; mso-ascii-font-family: 新細明體-ExtB;">不再有悲傷</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: 新細明體-ExtB;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 細明體; mso-ascii-font-family: 新細明體-ExtB;">只因是這面鏡子</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: 新細明體-ExtB;"><o:p></o:p></span></b></div>
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2013-12-01<o:p></o:p></span></b></div>
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<span style="font-family: 新細明體;">David Leung (theorydavid)</span><br />
<span style="font-family: 新細明體;">2013-12-01 published</span>theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.com0tag:blogger.com,1999:blog-7061534489530460113.post-16036922679831255882013-11-26T23:52:00.000+08:002013-12-15T23:56:49.806+08:00A Glamorous Female Figure: Hildegard de Bingen<span style="font-family: Arial, Helvetica, sans-serif;"><strong>Foreword: </strong></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><strong>A friend of mine has a great interest in studying the idea and music of Hildegard de Bingen, a legendary, yet glaring, female artisit star, living in the period of time in which the Catholic Church and man possess the absolute power over the society, as well as the thinking of every individual. Bingen's music, incredibly, never fails to display her frank, heartfelt affection to both the heavenly God and the earthly people. Her profound ideas and thoughts are always embedded in every nuance of the musical notes, as well as the texts. The following discussion is a reworking of the short introduction of Bingen written by my friend. I expand her ideas and remake the wordings of the original essay in order to lay out briefly the important contribution of Bingen in the western musical world.</strong></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><strong>Essay:</strong></span><br />
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<span lang="EN-US"><span style="font-family: Arial, Helvetica, sans-serif;"><strong>Doubtless Hildegard de Bingen, as a mere woman living in the
so-called “dark” age of the 12<span style="font-size: small;"><sup>th</sup> century under the hegemony of the
Roman Catholic Church, has exhibited her amazing, yet glamorous, female disposition
to the world. Bingen’s life is said to be replete with ineffable meanings of
experiences and dramas. She was a prophet, a healer, a writer, a painter, a
performer, and a composer, serving the Church in different roles. She
experienced the highest acclaim, but at the same time, received the heaviest
sentence from the same authority to which she devoted all through her life. As
a composer, Bingen’s contemporary attitude in art and innovative way of
composing reflect every nuance of her female sensitivity toward her
surroundings, her life experiences, as well as her God, displaying a unique,
creative thinking of humanity as well as theology. Indeed, she knew what to
express and how to express, all of her thoughts, emotions and ideas by skillful
use of music. </span></strong></span></span></div>
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<span lang="EN-US"><span style="font-family: Arial, Helvetica, sans-serif;"><strong>In fact, the medieval 12<span style="font-size: small;"><sup>th</sup> century was the period of time
in which the illiterate and the submissive mass, unlettered woman in particular,
were highly recommendable. While the majority of the medieval women were shameful
to disclose their affluent emotions and ideas, viewing the take-for-granted
silence as a ‘virtue’, Hildegard de Bingen, on the contrary, was boldly to
express her spiritual visions and personal ideas, as well as her inner feelings
and emotions through musical notes and texts, unleashing the true voice of a
medieval woman. Bingen’s individualism, as I believe, is not experienced from
her abundant emotions and ideas embedded in musical sounds, but rather, from her
genuine and courageous act to expose all these traditionally restrained sentiments
to not only the high God but also the ordinary people from all of her musical works.</span></strong></span></span></div>
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<span lang="EN-US"><span style="font-family: Arial;"><strong>Bingen's courage to disclose her affection comes parallel with her great concern of many of the philosphical and theological issues, ranging from the heaven down to the earth, just as contemporary male intellectuals have done. Not surprisingly, in the medieval period, 'great' thinking and idea indubitably belonged to the privilege of man. Woman possessing the thoughts and ideas such as creation, cosmology, nature of God, nature of virtue, and so forth were almost incredible. However, the achievements that Bingen did contribute to the philosphical and theological fields were so influential that almost no male contemporaries could surpass in her day. As such, whether as a mere medieval woman or a creative composer and artist, Hidlegard de Bingen is no doubt a unique and remarkable figure that is worth to invite a further academic study.</strong></span></span></div>
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<span style="font-family: Arial;"><strong>David Leung (theorydavid)</strong></span><br />
<span style="font-family: Arial;"><strong>2013-11-26 published</strong></span><br />
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</span>theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.com0tag:blogger.com,1999:blog-7061534489530460113.post-58158044229476064142013-11-16T20:24:00.003+08:002013-12-06T22:23:36.708+08:00回音 前言: <br />
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這是一首新詩作。我常說詩言情,文言志。詩的可貴之處,就是傳情達意。不需要過多的句字邏輯和上下文的連繫。這跟寫評論文章,小說或散文隨筆不同。要知感情的流露,往往是不跟一定的思維程序,也不是線性推理,但總是那麼不經意的,是被引發的,是片面的,是難捉摸的,是一剎那的。詩情可算是詩人自身感覺和直覺的混合,並不是苦心積慮下的刻意營造。<br />
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很多時候,詩作的感情世界更像回憶,就像心理學所說的意識流 (stream of consciousness)。總是一串串的如潮<br />
水般湧來的非理性片段,無方向的盪來盪去,卻又能喚起讀者心底的共鳴,搔著其不能抓著的癢處。<br />
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以下的兩首詩基本上是同一首詩。第一首是加上了較多的虛字,如連接詞等,使句子間的連接邏輯較強。雖是意思比較易懂,但算是散文的手法居多。另一首就增強了修辭作為感情和語氣的表達,不拘泥句與句間的連接纙輯。結果這更像詩的寫法,情趣也增多了。所以,這兩首詩因多了虛詞連接句子,又或增強了修辭造句,結果,有些句子要表達的意思和內容就稍有不同了。不過總的說來,不論是詩, 還是散文,除了文字要寫得好,唸出來時更要,抑揚頓挫,啷啷上口。才能牽動讀者情緒,使他們產生共鳴。<br />
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<em><span style="color: blue;">回音</span> </em><span style="color: blue;">: </span><br />
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別丟掉<br />
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這一把無端的熱情<br />
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現在流水似的飄過<br />
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幽冷的汪洋底<br />
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縱是黑夜<br />
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在天邊的無垠<br />
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如歎息的渺茫<br />
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仍為妳保存著這真 ! <br />
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............................<br />
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是一樣的明月<br />
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是一樣的隔岸燈火<br />
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隨滿天的星<br />
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縱使人不見<br />
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在夢迴中掛起<br />
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問妳幾時回<br />
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那一句話 -- 仍渴望相信<br />
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在微風飄盪著<br />
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有那 "回" 音 !<br />
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<span style="color: blue;"><em>回音</em></span> : <br />
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別丟掉<br />
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這一抹無端的熱情<br />
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現在流水似的<br />
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綿綿<br />
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在幽冷的汪洋底<br />
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在陰深的高山處<br />
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在深邃的黑夜<br />
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在天邊在蒼茫<br />
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是歎息著渺茫<br />
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偷偷<br />
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仍為妳保存著這真 !<br />
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...........................<br />
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是一樣的月明<br />
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是一樣的燈火闌柵<br />
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在眼簾盡處<br />
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迢迢<br />
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在隔岸在千山<br />
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在夢中低迴<br />
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是滿天的星<br />
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碎語著歸期<br />
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暗暗<br />
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那一句話<br />
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在盼望在相信<br />
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飄盪在微風<br />
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輕輕<br />
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是那 "回" 音 !<br />
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兩首詩的內容的確差不多,都是送給遠在天涯的摯愛,以表達思念之情。很像貝多芬那首<em>致遙遠的愛人</em>歌曲套曲。細味之下,辭詞改動了,使個別句子的意思稍有不同,感情張力也不同。但懷念遠方的愛人這個主題仍是沒有兩樣。<br />
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至於其他的方面的差異,感情觸角,還是留待讀者自行品評好了。<br />
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詩言情,感情一事,只有過來人用心中真摯的感情才可以細味。旁人呢,就越解越難明了。<br />
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全文完<br />
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David Leung (theorydavid)<br />
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2013-11-16 published<br />
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<br />theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.com0tag:blogger.com,1999:blog-7061534489530460113.post-15492551681252117382013-11-05T21:00:00.005+08:002017-12-29T08:50:01.980+08:00一則新聞,一個故事,兩份經驗 : 何為真愛 ?前言: <br />
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讀者是否認識高慧然,又或蔣芸? 我知道有關她們的,就只是她們在報刋上的專欄。我喜歡她們的寫作。如我沒有記錯,高慧然是一位醫生,但當她寫有關愛情,戀愛的文章,處處流露出女性特有的敏銳與細緻,很有味道。而蔣芸的寫作風格就帶有若干激情,對愛情在現代生活裡所碰撞出的張力,毫不留情地刻畫出來。把她的文章看後,心裡的悸動仍常常久久未靜。我還記得她們最近寫過有關愛情的文章,讀後使我不禁自問,何為真愛?<br />
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正文:<br />
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一則外地新聞為這篇文章展開序幕。<br />
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據報章報道,話說有位丈夫患有重病。五年來做了七次手術。但當他第七次完成手術後,由於痲醉太多次,亦太久,他的大腦記憶和神智受到傷害。當他醒來時四處張望,發覺樣樣都很陌生。更甚是竟然對正在照顧自己的妻子,完全沒有記憶。還以為只是一位漂亮的護士小姐在工作而矣。<br />
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這是可悲的嗎? 世事往往出人意表。雖然所有往事都忘記了,他對妻子已沒有任何印象,也應該是沒有任何愛情感覺,但這位先生卻對近在咫尺的美麗女子一見鐘情,還深深地愛著她。 這個結果是好事嗎? <br />
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但想深一層,他對她再一次產生同樣的愛情,沒有兩樣,可是緣份使然嗎? 真的不能解釋! 這愛不可能是丈夫的忠誠,因為他已是失憶了,面前的人就只跟一個陌生人沒有兩樣。所以,這樣的愛情神奇嗎? <br />
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我想如這則新聞所言的是事實,這似乎在說,真正的愛情,是跟我先前寫過有關緣份的看法有關。這位丈夫在醒來後甚麼也沒做過,為這緣似乎也沒努力過甚麼,倒是太太今生像要償還這先前結的緣,無悔無恨地照顧在病牀上的他。誰能說這不是緣麼?<br />
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莫非是:<br />
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<span style="color: blue;">煉百世始能共舟,</span><br />
<span style="color: blue;">修千載方能共枕。</span><br />
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<span style="color: blue;">顰盈耳語枕詩畔,</span><br />
<span style="color: blue;">還予逍遙萬世生。</span><br />
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高慧然在曾報章上講述過一個故事:<br />
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<span style="color: blue;">話說國王有兩個漂亮的女兒。她們都有一個本事,就是可以將自己流出來的眼淚變成黃金。真的是眼淚值萬金。</span><br />
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<span style="color: blue;">後來兩位美麗的公主都嫁給了兩個貧窮的人。</span><br />
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<span style="color: blue;">一年後,國王去探望兩位自己深愛的漂亮女兒。</span><br />
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<span style="color: blue;">國王到了大女兒的家,發覺女兒住在一座金碧輝煌,豪華萬千的宮殿裡。女兒出入更是奴婢成群,伴隨左右。吃的是山珍海錯,穿的是錦繡衣裳。國王很是滿意,覺得自己女兒很幸福,沒有嫁錯郎。所以,還大大稱讚了女婿。</span><br />
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<span style="color: blue;">可是,當國王來到了小女兒的家時,情況卻截然不同。小女兒的家仍是家徒四壁,小女婿仍是一貧如洗。吃的三餐仍是醎魚清菜,穿的仍是舊年的破爛衣裳。國王見到後非常忿怒,覺得小女婿沒有好好善待自己的女兒。於是,國王捉拿了小女婿,大興問罪之師。問他為何仍是這樣? </span><br />
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<span style="color: blue;">小女婿戰戰競競地回答: "我是深愛著你的女兒啊! 我從來捨不得她哭哩............。 "</span><br />
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朋友們,這兩位女婿,誰更愛自己的妻子? 誰更表現真愛?<br />
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高慧然也談及她的一位女性朋友的一份經驗。<br />
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<span style="color: blue;">她的朋友認識了一個風趣幽默的男子。由於這男子很懂說笑,又經常逗她開心,日子真的是過得十分愉快。高慧然的朋友自然地認為他是真命天子,此生非君不嫁了。</span><br />
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<span style="color: blue;">可是好景不常,高慧然的朋友遭遇了人生有使以來最大的困景。在跌落到這人生谷底,最需要溫暖的安慰和真誠的鼓勵的這段歲月中,這位風趣幽默的人卻突然消失,不見影踪。可真是能共富貴,卻不能共患難。</span><br />
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<span style="color: blue;">高慧然那極度失望的朋友可說是眼淚都流盡了,才慢慢從新站起來。驀然回首,這才驚覺,真愛不一定是來自那常常能令自己開心的人。那能陪伴自己,互相扶持地走過人生最崎嶇的路的人,才算是真愛。</span><br />
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看來真愛仍需付出努力地結緣,無私的,默默地在身旁守護著所愛的人........<br />
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朋友們,你同意這是才算是真愛嗎?<br />
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蔣芸所論述的第二份經驗卻卻為讀者帶來無限感慨。<br />
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<span style="color: blue;">話說蔣芸的一個男性朋友五年前因誤會和自己的初戀人分手了。五年後,他也結識了新的女朋友,最後到了談婚論嫁的時候。當他正準備通知各親朋戚友結婚一事,看著朋友的名單時,偶然發覺前度初戀的電話仍未删除。於是他不經意的發出了那五年來首次的信息。</span><br />
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<span style="color: blue;">但世事往往出乎意料之外,前女友竟回覆自己,還相約見個面。朋友欣然答應,也想這正好能將請帖送上。以後的事,可想而知,就是造物弄人。五年相隔,相方都成熟了,比前卻反而更有密契,更加合拍,更加關心對方,更加珍惜對方。自己這時才發現,那初戀的情感,不但仍在,還更深,更濃。怎辦? 婚是要結的,但新娘卻不能是這個。那份無奈就從前度女友在接到請帖時所說的話可見一斑......</span><br />
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<span style="color: blue;">她問: "你現在......開心嗎?"...............</span><br />
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看來人是對的,卻在錯誤的時間上碰著了。這就叫無奈........<br />
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這一剎的感覺,正如拙作詩云:<br />
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<span style="color: blue;">醉過方知酒濃</span><br />
<span style="color: blue;">愛過始知情重</span><br />
<span style="color: blue;">失過才懂珍惜</span><br />
<span style="color: blue;">哭過能明心痛</span><br />
<span style="color: blue;">"妳" 不能做我的詩</span><br />
<span style="color: blue;">正如我不能留在妳的夢........</span><br />
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(全詩請看我上一篇文章: <em><span style="color: blue;">詩,樂,夢</span></em>)<br />
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所以,看來真愛有時只能留在夢中,留在深深的回憶裡........。<br />
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何為真愛,也可能永遠也沒有一個絕對的答案。<br />
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Finished....... <br />
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David Leung (theorydavid)<br />
2013-11-07 published<br />
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<br />theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.com0tag:blogger.com,1999:blog-7061534489530460113.post-24035652559654768532013-11-04T16:02:00.000+08:002013-12-06T11:02:33.779+08:00詩,樂,夢: 一首新的詩作前言: <br />
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自我檢討,寫詩始終還未能臻至大師境界。因為我仍在臨摹階段。可是在表達含蓄的感情,和修辭造句方面,肯定是進步很多,頗有詩人的風範。所以,這也是好詩。<br />
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作為詩人與音樂家,不單需要真情流露,還要用優良的技巧去表達這份情意,與讀者,聽眾分享。感謝國學大師胡適的詩作,<em>夢與詩</em>的笫一首詩。我臨摹其結構,借其修辭的形態,寫下這新詩。意念是新的,意境營造也是新的,可算是我近期的佳作。當然胡適提倡新詩的理念,就是詩作要如說話般淺白易懂,我雖不完全贊同,但我這詩的詞句,就只用了顯淺的字詞,外表意思是易懂的。表面上這詩雖只是一首浪漫愛情詩,可是,又有幾多人可以細心嘴嚼到詩中主人公在愛情中的無奈。詩中的 '她' 和 '妳' 同是偶然在那個 '我' 的生命裡不同時間軌迹中碰到的人,一個已消逝,感情也只好在心中暗處冰封 ; 另一個卻在眼前,卻又無端牽起詩中的 '我' 那內心的無限漣。可是,雖然兩個都是對的人,但卻在錯的時間相遇,所以開不到花,也結不出果。原來,這就是我們常說的無奈。。。。<br />
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其實這首詩所流露的情感,是自身的體驗。這也是詩的美所在。<br />
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因為詩中造句對人的感情世界含有高密度的描繪,所以,詩並不可能如胡適所言,是顯淺如話 ...... <br />
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'她' 在這詩中只留有伏筆。'我' 對 '她'的感情亦只能封印在那隱藏的失落裡。這已是多年的往事。還記得如康乃馨的 '她' 嗎? 這就是了。可能是這個 '妳' 不經意的出現,雖是在錯配的時間,卻又無奈地喚起了那 '我' 那多年前那冰封了,失落了的對 '她' 的感覺......<br />
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而 '妳' 在這詩的出現,明顯的只在最後一句。對 '妳' 是含蓄的情感,沒有刻骨銘心的浪漫,也沒有波瀾壯濶的激情,一切就在於 '平凡' 這個字裡面。不能留在 '妳' 的夢裡,只因在這錯配的時空上, '我' 只能對 '妳' 表達那平凡的詩,平凡的樂,平凡的事,以及那平凡的話。是那麼淡淡然的,不經意的........ 雖是偶然的碰上,但又感情是那麼真摯,那麼動人。不能留在 '妳' 的夢裡,這就叫做無奈.......<br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">變幻了這冰封的感覺</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">…………….<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US"><o:p> </o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">談的是平凡的事</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">說的是平凡的話</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">碰著了是那偶然的人</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">喚醒了那隱藏的失落</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">……………..<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US"><o:p> </o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">醉過方知洒濃</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">愛過始知情重</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">失過才懂珍惜</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">哭過才明心痛</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">她不能做我的詩</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">正如我不能留在妳的夢</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">……………..<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">梁大偉</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">於</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US">2013-11-04</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 14pt;"><span style="font-size: small;">(Published)<o:p></o:p></span></span></b></div>
<span style="font-family: 新細明體;">
</span>theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.com0tag:blogger.com,1999:blog-7061534489530460113.post-1930364413389989172013-10-12T17:33:00.002+08:002013-12-06T22:17:51.419+08:00The Affective World of Troubadour's Songs<span style="font-family: Arial, Helvetica, sans-serif;">Forewords: </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">The paper below is memorable. This is because it is the first academic writing in my previous university life. Viewing the paper from today, although the English is no good, and the expressions is overwording, I still like it very much, not only of ideas but also the first success of developing my thinking pattern. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"> Article:</span><br />
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<h1 align="center" style="line-height: 200%; margin: 0cm 0cm 0pt; text-align: center;">
<b><u><span lang="EN-US" style="color: blue; font-size: 16pt; line-height: 200%; mso-bidi-font-size: 10.0pt;">The Affective World of Troubadour’s Song: </span></u></b></h1>
<h1 align="center" style="line-height: 200%; margin: 0cm 0cm 0pt; text-align: center;">
<b><u><span lang="EN-US" style="color: blue; font-size: 16pt; line-height: 200%; mso-bidi-font-size: 10.0pt;"></span></u></b><u><span lang="EN-US"><span style="font-size: large;"><span style="color: blue;">A symbol of the relief from religious restraint<o:p></o:p></span></span></span></u></h1>
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<span lang="EN-US"><o:p> </o:p></span></div>
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<span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>From
time to time, the artistic value of poem not lies in the elegance and
sensuous words, but rather, the idea or symbol concealed
behind these words. In a similar way, what the troubadours, a group of poet-musicians from the aristocratic
class of France active from the 11<sup>th</sup> to 12<sup>th</sup> century,
leaves to the world is a treasure of heartfelt, profound and consummate affectionate musical works.
Although this affection is somewhat idealistic and unattainable, its influence is
still far reaching till to many centuries, constituting part of what is now called
European humanistic culture. It was in the 11<sup>th</sup> century that the
troubadours first began to appear. The combination of the ‘Heroic Chivalry’ and
the ideal ‘Courtly Love’ that they contributed found expression in the daily
words and deeds of the medieval people. The first troubadour of record was Duke
William of <st1:state w:st="on"><st1:place w:st="on">Aquitaine</st1:place></st1:state>.
His poetry is said to contain all elements of ‘Courtly Love’, a kind of lovely
affection commonly reflected in many troubadours’ poems. The nature of 'Courtly Love' is rather ambivalent, sometimes positive
and joyful, but sometimes melancholic and miserable. Although many of the
extant troubadour poems exalt the pure and passionate affection of the ‘Courtly Love’
between a gentleman and a courtly lady in the surface, such passions, however, always give evidence of presenting somewhat the
religious symbolism as a personal emotional reaction to the social/liturgical orders and codes beneath.</strong></span><a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue; font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>[1]</strong></span></span></span><!--[endif]--></span></span></a><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong> In the following
discussion, I shall examine the affective world of troubadours through their songs
and lyrics, especially seeking the underlying tones of the words, so as to
reveal how the ‘Courtly love’, was shaped and shaped the medieval musical culture.
<o:p></o:p></strong></span></span></span></div>
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<span lang="EN-US"><o:p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong> </strong></span></o:p></span></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
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<span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>It
is almost impossible for us to understand the symbolism of the troubadours’
poetry without referring to the culture and religious situation in the Middle
Ages. Medieval people lived under a restrained world of codes and rules.
Treaties, guidance, manners, no matter on chivalry, on hunting, on table, on
liturgy, subliminally directed their daily life</strong></span><a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue; font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>[2]</strong></span></span></span><!--[endif]--></span></span></a><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>. In addition, the Catholic
Church acted as the ministry of God’s representative on earth. It was the sole
means of maintaining the divine, godly, order of the terrestrial world
regardless of her ‘greedy zeal’ in accumulating their prestige and wealth
incessantly. The Church doctrine and liturgy not only gave coherence but also
restraints to everyday life. <o:p></o:p></strong></span></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
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<span lang="EN-US"><o:p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong> </strong></span></o:p></span></div>
<div style="-ms-text-justify: inter-ideograph; line-height: 200%; margin: 0cm 0cm 0pt; text-align: justify;">
<span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>The
promise of salvation, the soul’s redemption from sin and its eternal life in a
world to come, for instance, was assured by the Church through the ways of burdensome
sacraments</strong></span><a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue; font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>[3]</strong></span></span></span><!--[endif]--></span></span></a><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>. No matter is the ‘Ladder
of Salvation’ of the wall painting of Chaldon Church, or the ‘Ladder of
Perfection’ by Whicker, gives the impression of how a medieval individual
should put in effort for the whole life but still wore an entire face of fear
and uncertainty in the last judgment before the awe-inspiring God</strong></span><a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue; font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>[4]</strong></span></span></span><!--[endif]--></span></span></a><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>. The rooted religious
affection of the poets, therefore, like the common medieval people, unavoidably
was a contradictive amalgamation of anxiety and devotion, as well as
desperation and piousness. It is because of these underlying negative emotions
that rooted unconsciously in the mind of the troubadours, the ‘Courtly Love’
that flourished in their poems becomes a kind of substituted and transformed
affection, becoming a relief from the liturgical rigidities. In this sense, the
poems of troubadour comprise religious symbolism.<o:p></o:p></strong></span></span></span></div>
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</span><br />
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt; text-align: justify;">
<span lang="EN-US"><o:p><span style="font-family: Arial, Helvetica, sans-serif;"> </span></o:p></span></div>
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</span><br />
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; line-height: 200%; margin: 0cm 0cm 0pt; text-align: justify;">
<span lang="EN-US"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>According to the <i>Webster’s Third New
International Dictationary</i>, the word ‘relief’ means that an feeling of removal
or lightening or setting free of something burdensome, painful or distressing.
One of the ways to remove the stress of the afflicting emotion, in general
speaking, is to let the negative affection substituted by another positive one.
In the daily experience, for instance, consoling by good friends or enjoying a
nice trip can always assist to calm down, or to relieve from the vigorous and
agitated emotions after the quarrel between a couple of lovers. It is because
the negative affection is overcame, or substituted, by some positive affection.
The same thing happens in the poems of the troubadours. It is obvious that the
troubadour song presented a kind of love so-called ‘Feudalization’ of love. The
lady was called ‘midons’ or ‘senhor’. Only a bad lord refused to protect and
aid his vassal with pity. In some poetry of the troubadours, the lady is
depicted as so lofty and unapproachable, somewhat like the God in certain ways,
that the lover in aspiring to her is like a lesser, humiliate knight seeking a
seat by a mighty baron</strong></span><a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue; font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>[5]</strong></span></span></span><!--[endif]--></span></span></a><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>. It can be imagined that a
medieval man who was zealous, heartfelt and devout but could not touch even the
corner of the “Ladder of Salvation’. Where his affection could be released? It
is not surprised to assert that the loyalty or honesty between the lord and the
vassal in the feudal society resembled the dedicated love towards God. The more
the man dedicated loyally as a serf to his lord, the ‘midons’, the more the man
felt relief from the restricted emotion because of the more acceptance from the
lord. In <i>Pus Vezem</i>, Guilhem of Poitou, also named William of Anquitane,
stated:</strong></span></span></div>
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<i><span lang="EN-US"><o:p> </o:p></span></i></div>
<span style="font-family: 新細明體;">
</span><i><span lang="EN-US">Flowering fields again we see, the meadows rich with greenery, the<o:p></o:p></span></i><br />
<span style="font-family: 新細明體;">
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<i><span lang="EN-US"><span style="mso-spacerun: yes;">
</span>springs all rippling lucidly, the wind, the breeze<o:p></o:p></span></i></div>
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</span><br />
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<i><span lang="EN-US"><span style="mso-spacerun: yes;">
</span>With every man that joy should be, which brings him ease…………<o:p></o:p></span></i></div>
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<i><span lang="EN-US"><o:p> </o:p></span></i></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt; text-align: justify;">
<i><span lang="EN-US"><span style="mso-spacerun: yes;"> </span>Obedience he must not spurn,<o:p></o:p></span></i></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; line-height: 150%; margin: 0cm 0cm 0pt; text-align: justify;">
<i><span lang="EN-US"><span style="mso-spacerun: yes;">
</span>Bowing to many. In his turn he must do pleasant deeds to earn<o:p></o:p></span></i></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoBodyTextIndent" style="-ms-text-justify: inter-ideograph; line-height: 150%; margin: 0cm 0cm 0pt 12pt; text-align: justify; text-indent: -12pt;">
<span lang="EN-US" style="line-height: 150%; mso-bidi-font-size: 10.0pt;"><em><span style="mso-spacerun: yes;"> </span>The love he has to sought. <o:p></o:p></em></span></div>
<span style="font-family: 新細明體;">
</span><span lang="EN-US" style="line-height: 150%; mso-bidi-font-size: 10.0pt;"><em>Yes, like a serf he now must learn silence in court………<o:p></o:p></em></span><br />
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 10.0pt;"><o:p> </o:p></span><span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 10.0pt;"><strong>Interestingly,
‘Feudalisation of Love’ consists of certain elements of what is said to be
called ‘Courtly Love’. The poet is about a serf and how he feels if he could
gain more freedom from the rigid and aloof world by showing absolute obedience
to the lady in regardless of whatever the pain brought. The rising of love is
linked with the spring. The lady is the most beautiful in the world and the
poet is submissive to her power.</strong><a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue;"><strong>[6]</strong></span></span></span><!--[endif]--></span></span></a><strong> With releasing of his
obedient love, poet seems to gain the freedom from his restrained affection
world, in the other word, from the very hypocritical and superficial religious
orders, and those sacraments. Through the use of feudal metaphor in
troubadour’s poem, the negative, unrequited affection towards God was
substituted by a kind of positive and rewarding feudalized fidelity, though
deriving from poets’ imagery, was still a way of passionate relief. In fact,
troubadours showed no pretence of worshipping aloofness. They really wanted the
consummating embrace. But not all the idealistic love in the poems give a
perfect result from their ‘Midons’, or the lady. <o:p></o:p></strong></span></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt; text-align: justify;">
<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small; line-height: 200%; mso-bidi-font-size: 10.0pt;"><o:p><strong> </strong></o:p></span></div>
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt; text-align: justify;">
<span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Undeniably,
many of the ‘Courtly love’ ideas presented in the poems flourishes with grief,
sorrow and disappointment. To love is to suffer, and even it associates with
distressing physical symptoms such as an inability to eat or sleep</strong></span><a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue; font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>[7]</strong></span></span></span><!--[endif]--></span></span></a><span style="font-family: Arial, Helvetica, sans-serif;"><strong><span style="font-size: x-small;">. The tenets of such love
requires a knight to prove his love for his lady by performing courageous, and
often impossible deeds; he must even be willing to die for her. If this kind of
affection is another form of affection to substitute the rigid and unfulfilled
Christian love, we can understand why when Pope Urban II proclaimed for the
bloody crusade in <st1:chmetcnv hasspace="False" negative="False" numbertype="1" sourcevalue="1095" tcsc="0" unitname="a" w:st="on">1095A</st1:chmetcnv>.D.,
albeit irrational, the response was a tremendous success that totally exceeded
his expectation. However, what remaining nowadays is only a horrible and bloody
historical record of mankind. <o:p></o:p></span></strong></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt; text-align: justify;">
<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small; line-height: 200%; mso-bidi-font-size: 10.0pt;"><o:p><strong> </strong></o:p></span></div>
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt; text-align: justify;">
<span lang="EN-US" style="font-size: 12pt; line-height: 200%; mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>In
the troubadour’s song of ‘Distant Lady’, the religious symbolism in the poetry,
again, is obvious. The troubadour secularizes this highly self-devoted,
vassal-like or even serf-like affection believing that the lesser he asserted
his own will, the more he accepted by the lady, that is, he was closer to the
top of the ‘Salvation Ladder’</strong></span><a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftn8" name="_ftnref8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue; font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>[8]</strong></span></span></span><!--[endif]--></span></span></a><span style="font-family: Arial, Helvetica, sans-serif;"><strong><span style="font-size: x-small;">. Jaufre Rudel,
undoubtedly, depicts us a clear picture of the writer’s devout affection, his
inner intense religious love and how it is sublimated and realized into the
metaphorical feudal affection towards his ‘Lady’. The ‘Distant Lady’ in the
song can be every woman truly loved and loving. The separation is not meant
that she is unreal or unattainable but, on the other hand, it is the aim in
life to seek or to discover, no matter for the poet or for the others. Rudel
wrote:<o:p></o:p></span></strong></span></span></div>
<span style="font-family: 新細明體;">
</span><span lang="EN-US" style="font-size: 12pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span><br />
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify;">
<span lang="EN-US" style="font-size: 12pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span><i><span style="font-size: x-small;">When now the days are long
in May,<o:p></o:p></span></i></span></div>
<span style="font-family: 新細明體; font-size: x-small;">
</span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-size: x-small;"><span style="mso-spacerun: yes;"> </span>I love to hear the birds far
distant,<o:p></o:p></span></span></i></div>
<span style="font-family: 新細明體; font-size: x-small;">
</span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-size: x-small;"><span style="mso-spacerun: yes;"> </span>And when the song has died
away,<o:p></o:p></span></span></i></div>
<span style="font-family: 新細明體; font-size: x-small;">
</span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-size: x-small;"><span style="mso-spacerun: yes;"> </span>I dream about a love as distant………..<o:p></o:p></span></span></i></div>
<span style="font-family: 新細明體; font-size: x-small;">
</span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-size: x-small; mso-spacerun: yes;"> </span></span></i></div>
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-size: x-small;"><span style="mso-spacerun: yes;"> </span>Sad and rejoicing I shall part
from her,<o:p></o:p></span></span></i></div>
<span style="font-family: 新細明體; font-size: x-small;">
</span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify;">
<span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-size: x-small;"><span style="mso-spacerun: yes;"> </span><i>When I have seen this love
far away:…………<o:p></o:p></i></span></span></div>
<span style="font-family: 新細明體; font-size: x-small;">
</span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify;">
<i><span lang="EN-US" style="font-size: x-small; mso-bidi-font-size: 10.0pt;"><o:p> </o:p></span></i></div>
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-size: x-small;"><span style="mso-spacerun: yes;"> </span>He speaks the truth who I says
I crave<o:p></o:p></span></span></i></div>
<span style="font-family: 新細明體; font-size: x-small;">
</span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-size: x-small;"><span style="mso-spacerun: yes;"> </span>And go desiring this love far
away <o:p></o:p></span></span></i></div>
<span style="font-family: 新細明體; font-size: x-small;">
</span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; mso-char-indent-count: 1.0; text-align: justify; text-indent: 12pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-size: x-small;">For no other joy
pleases me more, <o:p></o:p></span></span></i></div>
<span style="font-family: 新細明體; font-size: x-small;">
</span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; mso-char-indent-count: 1.0; text-align: justify; text-indent: 12pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-size: x-small;">For my godfather
gave me this fate<o:p></o:p></span></span></i></div>
<span style="font-family: 新細明體; font-size: x-small;">
</span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-size: x-small;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Than the rich enjoyment of this love far away</span><a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftn9" name="_ftnref9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman"; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue; font-size: x-small;">[9]</span></span></b></span><!--[endif]--></span></span></a><span style="font-size: x-small;">…</span></span></i><span lang="EN-US" style="font-size: 12pt; mso-bidi-font-size: 10.0pt;"><span style="font-size: x-small;">…….<o:p></o:p></span></span></div>
<span style="font-family: 新細明體;">
</span><span lang="EN-US" style="font-size: 12pt; line-height: 200%; mso-bidi-font-size: 10.0pt;"><o:p> </o:p></span><br />
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt; text-align: justify;">
<span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>In
a more concrete sense, Rudel’s poem shows us that seeking for the Courtly Love
from the distant ‘Lady’ is the seeking for the love, or the pity from the angry
God. The more he suffered in the course of seeking, the more godly devotion he
had sacrificed, and thus, another way of relief of his onerous affection. This
might be the aim in life of the poet, to some extent, the aim in life of every
medieval man</strong></span><a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftn10" name="_ftnref10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue; font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>[10]</strong></span></span></span><!--[endif]--></span></span></a><strong><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;">
in order to fulfill the unsatisfied religious heart.<o:p></o:p></span></span></strong></span></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong><span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 10.0pt;"><o:p> </o:p></span><span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 10.0pt;">As
we have seen that how the metaphoric ‘Feudal Love’ or ‘Courtly Love’ plays an
important role in troubadours’ poem and is related with their religious
affection, it is interested to point out that the cult of the Virgin Mary in
the High Middle Ages is also another factor affecting their underlying emotion
of the poems. Ironically, Christianity succeeded ultimately in this period
because it represented a return to the pagan way of worshipping the original
goddess which devotion to the Roman gods or ancient earthly goddess had
precluded though the Church had attempted to stamp out previously. The
importance of the adoration of the ‘Mother of Heaven’ was not only meant that
the rank of the woman, at least in the middle class, was exalted, but also the
rigidities of fear underlying the medieval world-views dominated by the concept
and image of God’ s harsh judgment, was gradually broken down. The adoration of
the Virgin, therefore, satisfied some of the attitudes that went to the
troubadour system with its worship of the ‘Lady’. In a more progressive sense,
the ‘Feudal Lady’ in the poem of troubadour is now transformed into Virgin Mary
who was defined as a human character that could really temper justice with
mercy, even with a warm or a merciful smile. On the other hand, Virgin Mary,
the intercessor for the salvation of wicked human soul, tended to be humanized.
She was seen as a real, fleshy and attainable human of tenderness and
compassion. No matter is the ‘Goddess’ transformed to “Lady’ or vice versa, the
restrained religious affection is relieved through this religious symbolization
process. In poem of Bernart De Ventadorn, the ‘Lady’ is transformed to become
the Virgin Mary, Goddess of love, mercy and pity. The ‘God-liked Lady’ is all
beautiful and amiable. She lifts all worshippers including the poet himself up
to passionate perfection and completeness and never lets down his hopes. The
poem states:<o:p></o:p></span></strong></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt; text-align: justify;">
<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small; line-height: 200%; mso-bidi-font-size: 10.0pt;"><o:p><strong> </strong></o:p></span></div>
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify;">
<span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><i>This love wounds me so gentle<o:p></o:p></i></strong></span></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong><span style="mso-spacerun: yes;"> </span>In the heart with sweet savor<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong><span style="mso-spacerun: yes;"> </span>A hundred times a day I die of
grief<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong><span style="mso-spacerun: yes;"> </span>And revive with joy another
hundred………<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong><span style="mso-spacerun: yes;"> </span>good will be the reward after
suffering<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; mso-char-indent-count: 1.0; text-align: justify; text-indent: 12pt;">
<i><span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small; mso-bidi-font-size: 10.0pt;"><o:p><strong> </strong></o:p></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span></span></i></strong></span></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; mso-char-indent-count: 2.0; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>All the gold
silver in the world<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; mso-char-indent-count: 2.0; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>I would have
given, if I had it<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; mso-char-indent-count: 2.0; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>Provided my lady
might know<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; mso-char-indent-count: 2.0; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>How truly I love
her………<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; mso-char-indent-count: 2.0; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small; mso-bidi-font-size: 10.0pt;"><o:p><strong> </strong></o:p></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; mso-char-indent-count: 2.0; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>When I see her,
it certainly shows<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; mso-char-indent-count: 2.0; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>In my eyes, my
face, my color<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; mso-char-indent-count: 2.0; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>For I tremble
with fear, like the leaf in the wind<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; mso-char-indent-count: 2.0; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>I haven’t the
judgement of a child <o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; mso-char-indent-count: 1.0; text-align: justify; text-indent: 12pt;">
<span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong><span style="mso-spacerun: yes;"> </span><i>So overwhelmed am I love<o:p></o:p></i></strong></span></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; mso-char-indent-count: 1.0; text-align: justify; text-indent: 12pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong><span style="mso-spacerun: yes;"> </span>And toward a man who is thus vanquished<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; mso-char-indent-count: 2.0; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>A lady could show
great pity</strong></span><a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftn11" name="_ftnref11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue; font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>[11]</strong></span></span></span><!--[endif]--></span></span></a><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>……….<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; mso-char-indent-count: 2.0; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="font-size: 12pt; mso-bidi-font-size: 10.0pt;"><o:p> </o:p></span></i></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt; text-align: justify;">
<span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>Ventadorn
obviously expressed the devotion of a knightly servant to the ‘Lady’, but in
one aspect as we have seen, the energies that had alienated into God struggling
for salvation had been drawn to the ‘Lady’, a ‘God-liked Lady’ that was more
attainable, more perfect and even more human-liked. In a more ridiculous way,
the image that appeared before the poet’s eyes when he prayed was his human
‘Lady’, not the angry God swaying to and fro in acceptance of salvation. <o:p></o:p></strong></span></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>
<span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 10.0pt;"><o:p> </o:p></span></strong></span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt; text-align: justify;">
<span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>On
the other hand, in the song of Guiraut Riquier, <i>Humils, forfaitz, repress e
penedens</i>, we explicitly find that the previous concentrations of love on
the feudal ‘Midons’ turned to the Goddess Mary requesting for mercy and
redemption. The Goddess, ‘Virgin Mary’, was transformed to become a humanized
person, a real person in life that was more sensuous and attainable. He
definitely wrote:<o:p></o:p></strong></span></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify;">
<span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><strong><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small; mso-spacerun: yes;"> </span><o:p></o:p></strong></span></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>Humble, guilty, accused and repentant,<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>Saddened, unhappy to return,<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>I am, for I have lost my time on account of
sin,<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>I beg mercy, lady, gracious Virgin,<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt 24pt; mso-para-margin-left: 2.0gd; text-align: justify;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>Mother of Christ,
son of the all-power, that you take no account of my sin towards you,<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>If it pleases you, consider the need of my
miserable soul………….<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small; mso-bidi-font-size: 10.0pt;"><o:p><strong> </strong></o:p></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt; text-align: justify;">
<span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>Again,
in another song of Riquier, he begged for love and pardon even more honestly.
His poem <i>Be.m degra de chantar tener </i>states:<o:p></o:p></strong></span></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify;">
<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small; mso-bidi-font-size: 10.0pt;"><o:p><strong> </strong></o:p></span></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>I should certainly refrain from singing,<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>For to song, happiness is fitting,<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>And worry constrains me so much<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>That it causes pain from all sides,……………..<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small; mso-bidi-font-size: 10.0pt;"><o:p><strong> </strong></o:p></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>My sense, my joy, my displeasure<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>My pain and my profit truly<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>For I scarcely say anything else good………<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small; mso-bidi-font-size: 10.0pt;"><o:p><strong> </strong></o:p></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>With a great umber of setbacks<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>From which it seems that He is against us<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>On account of disordered desire<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>And overweening power………<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small; mso-bidi-font-size: 10.0pt;"><o:p><strong> </strong></o:p></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>Lady, mother of charity,<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>Secure for us, out of pity,<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>From your son, redeemer,<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; line-height: normal; margin: 0cm 0cm 0pt; text-align: justify; text-indent: 24pt;">
<i><span lang="EN-US" style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Grace, pardon and love</strong></span><a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftn12" name="_ftnref12" style="mso-footnote-id: ftn12;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue; font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>[12]</strong></span></span></span><!--[endif]--></span></span></a><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>.<o:p></o:p></strong></span></span></span></i></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt; text-align: justify;">
<span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Goddess
Mary is humanized in the poem. This upsurge of deep pagan elements that revived
popularly in the medieval period was returned to the hands of Troubadours’. The
expression of the poet’s deep and pious devotion of Mother of Heaven was now
turned towards his ‘Humanized Lady’. He was requesting for mercy, for
redemption, even for the salvation</strong></span><a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftn13" name="_ftnref13" style="mso-footnote-id: ftn13;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue; font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>[13]</strong></span></span></span><!--[endif]--></span></span></a><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>. The goal of joy after
redemption, seen as the motive force of love, is interpreted in terms of poet’s
experience as he offered his devotion in the face of setback and
disappointment. The previous unattainable desires for the religious affection
of satisfaction are fulfilled through his own created ‘Virgin Mary’, a
humanized Goddess. <o:p></o:p></strong></span></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt 0.1pt; text-align: justify;">
<span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>In conclusion, it is because of this kind of
substituted or transformed lovely affection, the ‘Feudal Love’ or ‘Courtly
Love’, relieves the troubadour poets from the restrained religious affliction.
Perhaps, this may be the reason why the music of the troubadour was so popular
in the Middle Ages. The echo was clear. Whether the influences are directly or
indirectly, the ideas of pure love lauded by nobility and idolized by the
troubadours spread rapidly and extensively like diseases. Under the influence, <i>Tristram
and Ysolt</i>, Wace’s <i>Brut</i> and the romance of <st1:city w:st="on"><st1:place w:st="on"><i>Troy</i></st1:place></st1:city> were written. Andress Capellanus,
furthermore, viewed ‘Courtly Love’ which embraced in the affection world of the
troubadours’ poetries, as an art of rules and he regulated these rules into his
remarkable work of <i>The Art of Courtly Love</i>. Whether this work is
satirical, sincere, or debatable is not the most important. Its recognition is
nevertheless the golden testament of love to all medieval people. It is also
regarded as the incipient of the ‘Romance Love’, which is the most essential
love culture of the European world</strong></span><a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftn14" name="_ftnref14" style="mso-footnote-id: ftn14;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue; font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>[14]</strong></span></span></span><!--[endif]--></span></span></a><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><strong>. <o:p></o:p></strong></span></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 0pt 0.1pt; text-align: justify;">
<span lang="EN-US" style="font-size: 12pt; line-height: 200%; mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>The impact of the troubadours’ poems, however, was far
beyond this limit. We find that more and more the secular used the religious
symbolism that prevailed in troubadours’songs. Chretiende Troyes took over a
great deal of the religious vocabulary and turned it to the use of sensual
love. Love was adoration. In Gottfried’s <i>Tristan</i> of the early thirteen
century there was a <st1:place w:st="on"><st1:placetype w:st="on">Cave</st1:placetype>
of <st1:placename w:st="on">Lovers</st1:placename></st1:place> described as a
richly adorned church with its shrine. In the center was ‘the nest of
crystalline Love’ with design and proportions explained after the modes of the
Gothic World</strong></span><a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftn15" name="_ftnref15" style="mso-footnote-id: ftn15;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue; font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>[15]</strong></span></span></span><!--[endif]--></span></span></a><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>.
As the time passed, more and more different kinds of sculptures, literatures,
poems reflected in religious symbolism, and even frequently, gave evidence of
hostility, or fierce attack on the social inequity and corrupted Church and
thus, enforced the reformation of the Church. The poets, the artists tended to
express their personal ideas and affection, at the same time, release their
religious or social restrained emotions through their artistic activities.
Therefore, through the contribution of the troubadours’ music and their ways of
discharging the affection by using religious symbolism, it is undeniable to
assert that the most precious and valuable lyric poetry in Western humanistic culture
begins with the ‘Troubadour’.</strong></span> <o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-size: 12pt; line-height: 200%; mso-bidi-font-size: 10.0pt;"><o:p> </o:p></span></div>
<span style="font-family: 新細明體;">
</span><br />
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<span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 10.0pt;"><span style="font-size: x-small;"><span style="font-family: Arial, Helvetica, sans-serif;"><strong>Bibliography:<o:p></o:p></strong></span></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="margin: 0cm 0cm 0pt 12.1pt; mso-char-indent-count: -1.0; mso-para-margin-left: .01gd; text-indent: -12pt;">
<span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 10.0pt;"><span style="font-size: x-small;"><span style="font-family: Arial, Helvetica, sans-serif;"><strong>Andrea
Hopkins, <i>The Passionate Code of the Troubadours</i>, <st1:state w:st="on">New
York</st1:state>: Harper <st1:city w:st="on"><st1:place w:st="on">San
Francisco</st1:place></st1:city> 1994.<o:p></o:p></strong></span></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="margin: 0cm -7.7pt 0pt 12.1pt; mso-char-indent-count: -1.0; mso-para-margin-bottom: .0001pt; mso-para-margin-left: .01gd; mso-para-margin-right: -.64gd; mso-para-margin-top: 0cm; text-indent: -12pt;">
<span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 10.0pt;"><span style="font-size: x-small;"><span style="font-family: Arial, Helvetica, sans-serif;"><strong>Fiero Gloria K., <i>The Humanistic Tradition: Medieval Europe
and the World Beyond</i>, 2<sup>nd</sup> ed., <st1:country-region w:st="on"><st1:place w:st="on">Singapore</st1:place></st1:country-region>: Brown & Benchmark
Publishers, 1995<o:p></o:p></strong></span></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoFootnoteText" style="line-height: 200%; margin: 0cm 0cm 0pt 12pt; mso-char-indent-count: -1.0; text-indent: -12pt;">
<span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 10.0pt;"><span style="font-size: x-small;"><span style="font-family: Arial, Helvetica, sans-serif;"><strong>Goldin Frederick,<i> Lyrics
of the Troubadours and Trouveres</i>, <st1:state w:st="on"><st1:place w:st="on">New
York</st1:place></st1:state>: Doubleday & Co., 1983.<o:p></o:p></strong></span></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="margin: 0cm 0cm 0pt 12.1pt; mso-char-indent-count: -1.0; mso-para-margin-left: .01gd; text-indent: -12pt;">
<span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 10.0pt;"><span style="font-size: x-small;"><span style="font-family: Arial, Helvetica, sans-serif;"><strong>Lindsay
Jack, <i>The Troubadours and Their World</i>, <st1:city w:st="on"><st1:place w:st="on">London</st1:place></st1:city>: Frederick Muller Ltd., 1976.<o:p></o:p></strong></span></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoFootnoteText" style="line-height: 200%; margin: 0cm 0cm 0pt 12pt; mso-char-indent-count: -1.0; text-indent: -12pt;">
<span style="font-size: x-small;"><span style="font-family: Arial, Helvetica, sans-serif;"><strong><st1:city w:st="on"><span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 10.0pt;">Rosenberg</span></st1:city><span lang="EN-US" style="line-height: 200%; mso-bidi-font-size: 10.0pt;">
Samuel N., et al., <i>Songs of the Troubadours and Trouveres</i>, <st1:state w:st="on"><st1:place w:st="on">New York</st1:place></st1:state>: Garland
Publishing, Inc., 1998.<o:p></o:p></span></strong></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>
</strong></span><br />
<div class="MsoBodyText" style="margin: 0cm -7.7pt 0pt 12.1pt; mso-char-indent-count: -1.0; mso-para-margin-bottom: .0001pt; mso-para-margin-left: .01gd; mso-para-margin-right: -.64gd; mso-para-margin-top: 0cm; text-indent: -12pt;">
<span lang="EN-US" style="font-size: 12pt; line-height: 200%; mso-bidi-font-size: 10.0pt;"><span style="font-size: x-small;"><span style="font-family: Arial, Helvetica, sans-serif;"><strong>Stoner Kay, L., <i>The Enduring Popularity of Courtly Love </i></strong></span></span><a href="http://www.millersv.edu/~english/homepage/dincan/medfem/court.htm"><span style="color: blue; font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>http://www.millersv.edu/~english/homepage/dincan/medfem/court.htm</strong></span></a><span style="font-size: x-small;"><span style="font-family: Arial, Helvetica, sans-serif;"><strong>l.<o:p></o:p></strong></span></span></span></div>
<span style="font-family: 新細明體;">
</span><br />
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt 14pt; mso-char-indent-count: -1.0; text-indent: -14pt;">
<span lang="EN-US" style="font-size: 14pt; mso-bidi-font-size: 10.0pt;"><o:p> </o:p></span><br />
<span lang="EN-US" style="font-size: 14pt; mso-bidi-font-size: 10.0pt;"><o:p>Finished</o:p></span><br />
<span lang="EN-US" style="font-size: 14pt; mso-bidi-font-size: 10.0pt;"><o:p></o:p></span> </div>
<span style="font-family: 新細明體;">
<strong>David Leung (theorydavid)</strong></span><br />
<span style="font-family: 新細明體;"><strong>2013-10-12 Published</strong></span><br />
<div style="mso-element: footnote-list;">
<!--[if !supportFootnotes]--><br />
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<span style="font-family: 新細明體;">
</span><br />
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt 10pt; mso-char-indent-count: -1.0; text-indent: -10pt;">
<a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue;">[1]</span></span></span><!--[endif]--></span></span></span></a><span lang="EN-US"><span style="font-size: x-small;"> Gloria K. Fiero, <i>The Humanistic Tradition: Medieval Europe and
the World Beyond</i>, 2</span><sup>nd</sup><span style="font-size: x-small;"> ed., <st1:country-region w:st="on"><st1:place w:st="on">Singapore</st1:place></st1:country-region>: Brown & Benchmark
Publishers, 1995, pp75-76.</span></span></div>
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</span><br />
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt 10pt; mso-char-indent-count: -1.0; text-indent: -10pt;">
<a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue;">[2]</span></span></span><!--[endif]--></span></span></span></a><span lang="EN-US"><span style="font-size: x-small;"> Hopkins Andrea, <i>The Passionate Code of the Troubadours</i>, <st1:state w:st="on"><st1:place w:st="on">New York</st1:place></st1:state>: Harper San
Francisco 1994, p15.</span></span></div>
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</span><br />
<div class="MsoFootnoteText" style="margin: 0cm 0cm 0pt 10pt; mso-char-indent-count: -1.0; text-indent: -10pt;">
<a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue;">[3]</span></span></span><!--[endif]--></span></span></span></a><span lang="EN-US"><span style="font-size: x-small;"> Gloria K. Fiero, <i>The Humanistic Tradition: Medieval Europe and
the World Beyond</i>, 2</span><sup>nd</sup><span style="font-size: x-small;"> ed., <st1:country-region w:st="on"><st1:place w:st="on">Singapore</st1:place></st1:country-region>: Brown & Benchmark
Publishers, 1995, p80.</span></span></div>
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</span><br />
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<span lang="EN-US"><o:p><span style="font-size: x-small;"> </span></o:p></span></div>
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</span></div>
<span style="font-family: 新細明體;">
</span><br />
<div id="ftn4" style="mso-element: footnote;">
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<a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue;">[4]</span></span></span><!--[endif]--></span></span></span></a><span lang="EN-US"><span style="font-size: x-small;"> Jack Lindsay, <i>The Troubadours and Their World</i>, <st1:city w:st="on"><st1:place w:st="on">London</st1:place></st1:city>: Frederick Muller
Ltd., 1976, pp214-217.</span></span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue;">[5]</span></span></span><!--[endif]--></span></span></span></a><span lang="EN-US"><span style="font-size: x-small;"> Jack Lindsay, <i>The Troubadours and Their World</i>, <st1:city w:st="on"><st1:place w:st="on">London</st1:place></st1:city>: Frederick Muller
Ltd., 1976, pp213.</span></span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue;">[6]</span></span></span><!--[endif]--></span></span></span></a><span lang="EN-US"><span style="font-size: x-small;"> Jack Lindsay, <i>The Troubadours and Their World</i>, <st1:city w:st="on"><st1:place w:st="on">London</st1:place></st1:city>: Frederick Muller
Ltd., 1976, pp15-17.</span></span></div>
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</span><br />
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<a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue;">[7]</span></span></span><!--[endif]--></span></span></span></a><span lang="EN-US"><span style="font-size: x-small;"> Hopkins Andrea, <i>The Passionate Code of the Troubadours</i>, <st1:state w:st="on"><st1:place w:st="on">New York</st1:place></st1:state>: Harper San
Francisco 1994, pp6-7.</span></span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue;">[8]</span></span></span><!--[endif]--></span></span></span></a><span lang="EN-US"><span style="font-size: x-small;"> Jack Lindsay, <i>The Troubadours and Their World</i>, <st1:city w:st="on"><st1:place w:st="on">London</st1:place></st1:city>: Frederick Muller
Ltd., 1976, p221.</span></span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftnref9" name="_ftn9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue;">[9]</span></span></span><!--[endif]--></span></span></span></a><span lang="EN-US"><span style="font-size: x-small;"> Frederick Goldin,<i> Lyrics of the Troubadours and Trouveres</i>, <st1:state w:st="on"><st1:place w:st="on">New York</st1:place></st1:state>: Doubleday
& Co., 1983, pp104-107.</span></span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftnref10" name="_ftn10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue;">[10]</span></span></span><!--[endif]--></span></span></span></a><span lang="EN-US"><span style="font-size: x-small;"> Jack Lindsay, <i>The Troubadours and Their World</i>, <st1:city w:st="on"><st1:place w:st="on">London</st1:place></st1:city>: Frederick Muller
Ltd., 1976, p69.</span></span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftnref11" name="_ftn11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue;">[11]</span></span></span><!--[endif]--></span></span></span></a><span lang="EN-US"><span style="font-size: x-small;"> Samuel N. Rosenberg, et al., <i>Songs of the Troubadours and
Trouveres</i>, <st1:state w:st="on"><st1:place w:st="on">New York</st1:place></st1:state>:
Garland Publishing, Inc., 1998, p65.</span></span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftnref12" name="_ftn12" style="mso-footnote-id: ftn12;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue;">[12]</span></span></span><!--[endif]--></span></span></span></a><span lang="EN-US"><span style="font-size: x-small;"> Samuel N. Rosenberg, et al., <i>Songs of the Troubadours and
Trouveres</i>, <st1:state w:st="on"><st1:place w:st="on">New York</st1:place></st1:state>:
Garland Publishing, Inc., 1998, pp172-173.</span></span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftnref13" name="_ftn13" style="mso-footnote-id: ftn13;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue;">[13]</span></span></span><!--[endif]--></span></span></span></a><span lang="EN-US"><span style="font-size: x-small;"> Jack Lindsay, <i>The Troubadours and Their World</i>, <st1:city w:st="on"><st1:place w:st="on">London</st1:place></st1:city>: Frederick Muller
Ltd., 1976, p215.</span></span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftnref14" name="_ftn14" style="mso-footnote-id: ftn14;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue;">[14]</span></span></span><!--[endif]--></span></span></span></a><span lang="EN-US"><span style="font-size: x-small;"> Kay L., Stoner, <i>The Enduring Popularity of Courtly Love </i>http://www.millersv.edu/~english/homepage/dincan/medfem/court.html.</span></span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=7061534489530460113#_ftnref15" name="_ftn15" style="mso-footnote-id: ftn15;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 1.0pt;"><span style="color: blue;">[15]</span></span></span><!--[endif]--></span></span></span></a><span lang="EN-US"><span style="font-size: x-small;"> Jack Lindsay, <i>The Troubadours and Their World</i>, <st1:city w:st="on"><st1:place w:st="on">London</st1:place></st1:city>: Frederick Muller
Ltd., 1976, pp222-224.</span></span></div>
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</span>theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.com0tag:blogger.com,1999:blog-7061534489530460113.post-72712004895830945662013-09-12T01:48:00.003+08:002013-11-23T18:42:38.165+08:00時空交錯中的浪漫美學: KPop "那個女人" 的 MV 製作<b>前言: </b><br />
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我沒有太多製作歌曲 MV 的經驗。可是,這首 OST 歌曲, <i>My Woman</i> (<i>My Man</i>), 實在是曲詞唱都絕佳。可說是我的摯愛。所以,我嘗試運用 Contemporary Music 的作曲理論,加上 Proust 對時空,即 Time 和 stream of consciousness 的理論,Karol Berger 所提出關於貝多芬音樂中反影 Aesthetic States 的變化作用的概念,歌曲分析學中的 Text Painting,和德國文學家和音樂家在十九世紀文學運動中所提出的浪漫主義特質 -- Distancing (遙遠) ,來製作以下MV 短片。在一方面,讓我可以熟悉製片軟件的各種特效和操作,另一方面,我也可以提升歌曲原本想表達的意義,增加其藝術價值。<br />
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值得一提,多數在 Youtube 上的 MV 業餘製作,都是以影片為主幹,往往忽略了音樂自身意義的特質,與樂音與影片中流露的 reference meaning 之間的相互關係。我這個 MV 嘗試,希望是可以拋磚引玉,打開多一種欣賞 MV 的角度。<br />
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因技術和經驗所限,有些地方還未完善,務請見諒。<br />
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<b>正文: </b></div>
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首先,請聽眾先欣賞歌曲 "<i><b>那個女人</b>/<b>那個男人</b>"</i> ........</div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzmGxqDvmEG6AiI2Y6c-QLVEDoGXcCnN66lFg3iuwiJ_yxcqdPe4RnDRfmsk-WcyL4cKJ9fcJf7zjeKq9K0Og' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
含有對白的MV (較多合唱 Layers)<br />
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由於有影像提供了text,所以,聽眾欣賞時也會看影像和歌詞字幕去了解個 MV 的意義。<br />
歌詞是我跟據韓文 CD內的中文譯文翻上翻的。<br />
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以下是製作音樂和影片的設計和 underlying idea and concepts。<br />
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但為了妨止阻礙聽眾發揮聯想空間,並作自由解讀,所以我只簡略說出整個 MV 的基本設計和要點。<br />
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1. Music:<br />
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The Male and Female voices belong to different sound tracks. They do not sing in duet, instead, they sing in solo with different keys, but similar tempo. <br />
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Each individual song is rearranged in the form of collage, superimposing as a pseudo-duet bitonally. The two Chorus Sections become a duet-like passages, creating a climax to the moment.<br />
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This implies a meaning that: Two lovers are distanced, and cannot go on hand by hand.<br />
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Music often articulates the meaning of each stanza, and even provides text-painting to some particular words, or word phrases. For example, the lyric in the Chorus section " 就在內心中...." is highlighted by the eyesight of the male protagonist over the just found key (symbol of the love). Another lyric phrase " 那個男人依然在妳身旁" is paralleled with an imagined scene of "The Man" who shows his deep concern with his beloved under the falling rain.<br />
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The nature of the music is story-telling, notified by the opening and closing scenes in which the young boy singer performs live in the garden. He is the character that sings the story of this unattainable love (19th Century German Romantic sentiment) between "The Man" and "The Woman", who are also the audience in that particular moment. <br />
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2. Video: <br />
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Timeline narration is designed in the linear way. Readers/listeners should be aware of each event moving in different temporal-spatial states, albeit without a logical trajectory. <br />
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Temporal-Spatial spaces crisscross the states of the present (reality), the past, and the future (mental imagination or dream).<br />
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The Present State: Indicated by without using any additional effect in the scene.<br />
The Past State: Uses of black-and-white screen or faded yellow screen background.<br />
The Future State (imagined dream): Uses of soften effect, overblown light or cloudy effects to make the images vague and soft. The overall effect creates a distance between images and viewers, romanticizing the imges and the scene to a certain extent.<br />
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Additional FX effects are added to emphasize the particular moment when there is a sudden shift of the temporal-spatial spaces over the stream of consciousness of the protagonists's minds.<br />
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Montage (small window) is frequently employed in the climatic moments, adding extra-reference meanings to the scenes, for example, a "Kissing" polyphony (counterpoint) is used in the final climatic scene. The small frame of the scene shows the kissing of the lovers a second prior to the large frame of the scene in an imagined dream.<br />
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Montage is also a technique to create a stream of consciousness of "The Man " and "The Woman", showing their mental journeys vascillating between the past memory and the future imagined dream. <br />
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3. Story-line:<br />
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A new story is created throughout the MV. Each event has certain linking to the next following event.<br />
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Readers/Listeners can create their own understanding of the story through referencing to the time line events. <br />
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我想我的討論就到此為止。不然的話,太多的解釋反而窒息了聽者的感受空間,解讀故事的多異性也減 弱了。<br />
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全文完....<br />
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David Leung (theorydavid)<br />
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2013-09-12 (published)<br />
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<br />theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.com0tag:blogger.com,1999:blog-7061534489530460113.post-26485382829848399342013-09-10T22:00:00.002+08:002017-12-25T14:48:21.193+08:00珍惜百歲與千載的緣: 藝術工作者應有的情操?<b></b><br />
<b>前言: </b><br />
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葉明媚博士的詩 <i>"消遙 " </i> ,就如其人一樣,可堪是風華絕代。我喜歡用的一句形容片語 "幽幽的擁容",就是想起她的詩和影象而創出來的。她的<i>"消遙 " </i>起頭的第一段詩是這樣寫的:<br />
<span style="color: #674ea7;"><br /></span>
<span style="color: #674ea7;">煉百歲方能共舟</span><br />
<span style="color: #674ea7;">修千載始能共枕</span><br />
<span style="color: #674ea7;">千載前枕落的一船相思</span><br />
<span style="color: #674ea7;">從烟遠無詩的古代</span><br />
<span style="color: #674ea7;">撑往今生</span><br />
<span style="color: #674ea7;">細語喁喁的夜...... </span><br />
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很美吧!<br />
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我在二十多年前讀這詩時,心裡就悸動不已。<br />
於是借其意境,寫下了我第一首對 "愛情" 這奇妙東西的感想的古詩。<br />
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<span style="color: #674ea7;">百載同船千共襟</span><br />
<span style="color: #674ea7;">幾番修道始緣深</span><br />
<span style="color: #674ea7;">顰盈耳語枕詩畔</span><br />
<span style="color: #674ea7;">還予消遙萬世生</span><br />
<span style="color: #674ea7;"><br /></span>
<span style="color: #674ea7;">..........</span><br />
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緣,不是如小說所言是由天註定的。反之,是須要人為的不斷努力和付出,方成正果。<br />
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如果要結為夫婦,真的如<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">葉</span><span style="font-family: 新細明體;">詩所說,</span>要付出千載修行,要成為知己而共舟,也要煉百歲方成,那麼,能成為師生,能啟迪自己一生的緣,雖說此緣可能只是某人生命旅途中的一個短暫驛站,可是需要雙方修道多久呢?<br />
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作老師二十多年,竟還收到學生這樣的一封來信,實在感動難言........<br />
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<b>正文:</b><br />
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只是有緣上過一次葉博士 (她是民族音樂學的PhD,也懂彈奏古琴) 的堂。當時是聆聽她解說中國古代美學,從中國傳統舞蹈和繪畫看何為意境。那是二十多我前的事了。我並沒有緣跟她說過一句說話,她也更不知我的存在。可能跟她的 "緣" 只是修過數載吧了。<br />
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後來她請了當時在香港甚有江湖地位的老前輩作曲家林聲翕先生(林老師是我當時的作曲老師) ,為這首 "<i>逍遙</i>" 譜成藝術歌曲用廣東話演出。當時我就想,"死啦!"。坦白說,林老師不是那些善於表達深情的作曲家,特別是寫那些浪漫愛情的曲調。<br />
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我現在也不便評論這首歌曲。<br />
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只知道後來葉博士移居法國,也沒有聽到她的消息。我偶爾會翻閱她評論古琴的書和她寫的詩,可能跟她的緣就是到這裡為止。可是,每逢我寫作時,用到在前言中提及的一個片語 "幽幽的雍容" 時,我就會想起她的風姿。說起這個片語,來源是來自葉博士原詩中的一組短句: <span style="color: #674ea7;">我雍容地以幽幽瞳靈,千千明媚,還你以一生的消遙......</span>"。<br />
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真的很美,很美!<br />
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我這 "幽幽的雍容",不是形容華麗,也不是描寫貴氣,更跟這些庸俗的形象扯不上關係。恕我詞窮,不能以文字解釋其含意。請讀者自行體會。在我的寫作中,用過這組詞三次。兩次是用來形容一群人去完成他們的特別工作。只有一次是用來形容我的一位學生的氣質,她當然是個女孩子。<br />
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離開了做學生的生涯,既當了老師,當然也教過不少學生。<br />
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在現代生活中,為了糊口,教學也不免要收學費。但學費還是小事,不收也沒有關係。總希望能有緣教導一些有潛質,特質和氣質的學生。可能在她們的漫長人生旅途中,上課的時日就只是一個驛站而矣。這也不打緊。就好像與葉明媚老師結的緣一樣,雖是短暫而久遠,卻對我的思維有一定的影響。我的 PhD 研究,就包含了中國傳統文人美學。還引用她的著作哩。<br />
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最近的教學生涯<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">裡</span><span style="font-family: 新細明體;">,又讓我</span>再一次體會到師生的緣。緣是認識,是"因",那麼,要結果的話,是要人有多少年的付出,執著,和努力呢? 不收學費就可以嗎?<br />
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<b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">以下是一個學生的來信,也請讀者自行領悟,結緣需多久?</span></b></div>
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<i><span lang="EN-US"><span style="color: #0b5394;">"i'm sorry, maybe i cannot
go...<br />
my parents and i discussed for a long time, more than once we quarrelled...but
is not for the price,we all think the price is suitable, is actually they did
not support me to learn music.<o:p></o:p></span></span></i></div>
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<i><span lang="EN-US"><span style="color: #0b5394;">im really really disappointed,i
also did not know until now.<o:p></o:p></span></span></i></div>
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<span style="color: #0b5394;"><i><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">真係不是我不想學,我比任何人都更加想學作曲</span></i><i><span lang="EN-US"><br />
</span></i><i><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">但直到今天我才發現父母既支持原來是如此地重要,</span></i></span></div>
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<span style="color: #0b5394;"><i><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">因為如果沒有他們的支持我根本沒有能力做任何事。真係好無奈</span></i><i><span lang="EN-US"><o:p></o:p></span></i></span></div>
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<span style="color: #0b5394;"><i><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">我真係好失望,只有以後靠我自己,但是我絕對不會放棄絕對不會</span></i><i><span lang="EN-US"><o:p></o:p></span></i></span></div>
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<i><span lang="EN-US"><span style="color: #0b5394;">i m so sorry i wasted of
ur so much time<o:p></o:p></span></span></i></div>
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<i><span lang="EN-US"><span style="color: #0b5394;">just hope u can
understand <o:p></o:p></span></span></i></div>
<br />
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<span style="color: #0b5394;"><i><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">很高興能夠做你的學生,我的人生應該沒有幾個老師能夠向你這樣給這麼多機會</span></i><i><span lang="EN-US">,</span></i></span></div>
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<span style="color: #0b5394;"><i><span lang="EN-US">but just soooo sorry"<o:p></o:p></span></i></span></div>
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<i><span lang="EN-US"><span style="color: #0b5394;"><br /></span></span></i></div>
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<i><span lang="EN-US"><span style="color: #0b5394;">(來信 1引錄)</span></span></i></div>
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<i><span lang="EN-US"><span style="color: #0b5394;"><br /></span></span></i></div>
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<b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">這是我的回信</span><span lang="EN-US">:<o:p></o:p></span></b></div>
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<i><span style="font-family: 新細明體;">沒有一個人生是一帆風順的。</span></i><i><span lang="EN-US"> </span></i></div>
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<i><span style="font-family: 新細明體;">一個人若能還是奮鬭,</span></i></div>
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<i><span style="font-family: 新細明體;">無論遇著甚麼事都不可怕。</span></i><i><span lang="EN-US"><o:p></o:p></span></i></div>
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<i><span style="font-family: 新細明體;">但若只能在那裡等著而沒有希望,</span></i></div>
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<i><span style="font-family: 新細明體;">那就太可怕了。</span></i><i><span lang="EN-US"><o:p></o:p></span></i></div>
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<i><span style="font-family: 新細明體;">生命的智慧往往在乎於這兩個片語</span></i><i><span lang="EN-US">: </span></i><i><span style="font-family: 新細明體;">等待,希望。</span></i><i><span lang="EN-US" style="font-size: 15pt; mso-font-kerning: 0pt;"><o:p></o:p></span></i></div>
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<i><span style="font-family: 新細明體;"><br /></span></i></div>
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<b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">學生再回信</span><span lang="EN-US">:<o:p></o:p></span></b></div>
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<span lang="EN-US"><i><span style="color: #0b5394;">thank u for ur support and understanding</span></i></span><br />
<span lang="EN-US"><i><span style="color: #0b5394;">i cried a lot about it......</span></i></span><br />
<span lang="EN-US"><i><span style="color: #0b5394;">but now relieved a lot</span></i></span><br />
<span lang="EN-US"><i><span style="color: #0b5394;">i will always remember what u said and encourage myself</span></i></span><br />
<span lang="EN-US"><i><span style="color: #0b5394;">although now i cannot change parents' decision </span></i></span><br />
<span lang="EN-US"><i><span style="color: #0b5394;">but i will use my own way to persevere:)</span></i></span><br />
<span lang="EN-US"><i><span style="color: #0b5394;">anyway,</span></i></span><br />
<span lang="EN-US"><i><span style="color: #0b5394;">always put your words FIRMLY in mind.</span></i></span><br />
<span lang="EN-US"><i><span style="color: #0b5394;">Looking forward to the future with you to learn music</span></i></span><br />
<span lang="EN-US"><i><span style="color: #0b5394;">it will hv the opportunity.</span></i></span><br />
<span lang="EN-US"><i><span style="color: #0b5394;">pls take care of urself</span></i></span><br />
<span lang="EN-US"><i><span style="color: #0b5394;">i will always contact u and send my work to u</span></i></span><br />
<span lang="EN-US"><i><span style="color: #0b5394;">feel free to find me</span></i></span><br />
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<span lang="EN-US" style="font-size: 12pt;"><i><span style="color: #0b5394;">thanks <br />
Take Care </span></i></span></div>
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<i><span lang="EN-US"><span style="color: #0b5394;">(來信 2引錄)</span></span></i></div>
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這位想學習創作的女孩子,雖仍是年輕,仍是學生身份,但已經具備了當一位藝術家所需的氣質與感情。<br />
無論將來她所走的路會變成怎樣,我將來還會有緣見她與否,這些也不再是重要。認識是緣,也是"因",但 "果" 就未必是如我們所料的一樣。可能我們為此緣所修的道,就連一年也沒有,何談百載.........<br />
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這也使我想那位 "幽幽的雍容",求學的過程,也算是順利,還有背後的支持,不知道她的路走到最後,會變成怎樣!<br />
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不過,無論如何,師生之緣倒是結了。可是,不知此緣會延多久? 共舟渡河,也總會有下舟的時候......... 是十載,還是百載....…,又或只是數載,就取決於雙方能否珍惜而矣。<br />
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今天,有太多自稱是藝術家,是作曲家,但太少擁有當藝術家所擁有的感情特質和藝術氣質。<br />
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除了創造力以外。我常說:<br />
<br />
畫家應該對色彩光暗天生敏銳<br />
詩人應該對人性感情天生敏銳<br />
作曲家應該對聲音和情感表達天生敏銳<br />
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不然的話,做個欣賞者好了。<br />
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藝術與人,也是緣!<br />
所以, 要珍惜這緣。<br />
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.....全文完.....<br />
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David Leung (theorydavid)<br />
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2013-09-10 (published)<br />
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<br />theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.com0tag:blogger.com,1999:blog-7061534489530460113.post-86284890154745393772013-08-30T04:37:00.003+08:002013-09-12T12:23:17.653+08:00比說聲 "我愛你" 更有價值的是: "對不起"-final edited Video<br />
前言: <br />
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前言: 在華人的愛情文化裡,很多時候,能夠真摯衷誠地向對方說一聲 "對不起",是勝過說一萬句 "我愛你"。<br />
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以下的影片,就能道明一切。<br />
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值得欣賞的是,歌聲中的歌詞所表達的歉意心聲,與告示牌所寫的悔意表白互相觸動,互相牽引著對方的心靈。<br />
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原文: </div>
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以下的是根據韓文的翻譯意思,再重新翻上翻的歌詞,希望更詩意一些。</div>
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例如,既然原文的英文歌名是 Tear Stains,就不是星座,雖然歌曲中有提及星座 (Constellation)。這不夠詩意。</div>
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再者,Stains 是那些抹不去的痕跡,所以我就索性翻為: <i>眼淚星痕</i>。</div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dxKEE4dPhEPuW1fgz0Xtbe3cBdSCGd7uYmMcpOg89Re02LT93ny9QilUEHVmuAPCmu4IsHXNwagJS3bWbg-VA' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
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因 upload 檔案的問題,技術所限,所以影像不理想,希望日後能夠改善。而且,影片也重新翦輯,部份歌詞也重新翻譯。重要的對白也加上了,使主題意義也更清晰。</div>
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我的 youtube link of this video:<a href="http://youtu.be/i3u_IrynDtY" style="border: 0px currentColor; color: #2793e6; cursor: pointer; font-family: arial, sans-serif; margin: 0px; padding: 0px;" target="_blank"><span style="font-size: x-small;">http://youtu.be/i3u_IrynDtY</span></a></div>
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(請試試,影像應該比較清楚)</div>
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在我們的文化裡,能夠坦率地表達情感已是不常有。更可悲的是,假如事情牽涉到面子,更不會輕易妥協。這就是我們的所謂傳統。 熱戀中的朋友也沒有例外, 帶來的結果只會令雙方造成更多傷害。</div>
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尹瑟送給崔祐英的三個告示表白也很浪漫,可堪回味: </div>
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1. 剛才 Sun 告訴我,這是寫給我的歌 (眼淚星座),我有這個資格嗎?</div>
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2. 我因為自己受了傷,也曾令你受了很多傷害。真的.......... 對不起........</div>
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3. 其實,愛吃栗子的是我,沒有錯。但芝士蛋糕的是另外的女人。可是..... 我還是愛你,崔祐英!.......</div>
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其實,歌者所唱的不單是為台下的愛人代唱出她的心聲,也是他自我表白的悔過心意。因為他也做曾做過很多傷害對方的事。戲中雙方通過眼神的交流,牽起了自己無盡的感情思念。</div>
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這使我想起林夕那首得獎歌 "<i>曾經"</i> 裡其中的歌詞: </div>
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"<i>曾<b>着意</b>灑脫地胡混,誰料跌了卻又要翻身。</i></div>
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<i>望滿身傷痕,才明白到即使嬉笑一身,也常被困</i>。"</div>
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歌者就曾是這樣的故作浪漫地渡過了七年。也自己和令她受傷了七年</div>
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我看還是好好欣賞這首歌吧。</div>
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翻出來的歌詞也很美。既有情境,也有意境。淚珠兒裝在星星裡的詩意,我也曾寫過。很美吧!</div>
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對於過去未成熟去處理感情問題的悔意,其張力就在於倘若能再有一次機會,就會好好珍惜對方。</div>
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可是,逝去的時光可以追回來嗎? 機會還會再來嗎?</div>
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樹欲靜而風不息就是這個道理。年輕時為何總體會不到?</div>
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全文完...... </div>
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David Leung (theorydavid)</div>
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2013-08-30 Published</div>
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theorydavidhttp://www.blogger.com/profile/15334047781909883772noreply@blogger.com0