「日記三兩句」：《 張充和的「桃花魚」版本兩種 》

「日記三兩句」：《 張充和的「桃花魚」版本兩種》

《 Peach Blossom Fish：Selected Poems Composed & Calligraphed by Chang Ch’ung-ho 》

Translated by Hans H. Frankel, Ian Boyden, and Edward Morris. Edition of 140. December 1999. Price $650.00

「 Regarding Peach Blossom Fish Chang Ch’ung-ho was born in Shanghai in 1914, and was brought up in Hefei and Suzhou. Her calligraphy is represented in collections throughout the world, and her poetry has appeared in periodicals in China and Taiwan. In her youth, the archeologist Zhu Moqin (1893–d. before 1945), to whom this book is dedicated, was her most important tutor. He taught her how to punctuate, memorize and understand Confucian classics, historical and literary texts. He also taught her how to write literary prose, calligraphy, how to make rubbings, and methods of carving seals. After studying Chinese literature at National Peking University, she moved to Kunming and Chongqing, where, working for the Ministry of Education, she conducted research on Chinese literature and music. In Chongqing she had the fortune of studying with the noted calligrapher-poet Shen Yinmo (1883–1971). In 1948, Chang Ch’ung-ho moved to America with Hans H. Frankel, where she worked in the East Asiatic Library of the University of California at Berkeley. In 1951, she held her first solo exhibition of calligraphy and paintings at the DeYoung Museum in San Francisco. Since then her calligraphy has been shown in many exhibitions both here and abroad. From 1965 to 1984 she taught Chinese calligraphy at Yale University, and has since served as consultant to the Asian Art section of the Yale University Art Gallery. In addition to calligraphy and poetry, she is also recognized for her knowledge and practice of a form of Chinese musical drama known as Kunqu and is a founding member of the Kunqu Society and serves as its artistic director. The calligraphy in Peach Blossom Fish reflects Chang Ch’ung-ho’s profound studies of the classical tradition of Chinese calligraphy, in particular written forms found on lithic monuments of both the Six dynasties period (265–589) and the Sui dynasty (589–618). Out of these studies she forged a distinctly individual style marked by terse clarity and strength as well as playful variation of brush forms and incorporation of idiosyncratic characters. The bony structure and shimmering quality of her calligraphy is accentuated by her precise beginnings and endings of each stroke and the subtle and highly controlled modulation of the brush tip. These translations are the product of a rare and delightful occurrence. Not only was Chang Ch’ung-ho present to clarify the significance of each line and each poem, but the main translator, Hans H. Frankel, was none other than the author’s husband of fifty years. Together they selected poems written in two traditional forms known as shi and ci. While the translations preserve the argument of the poems and convey their lyrical quality, they do not carry the rhythmical and tonal patterns of the shi and ci forms. Shi, developed in the second century, are comprised of four or eight lines of even length each of which maintains specific tonal patterns and strict end rhymes. Ci are characterized by lines of varying lengths as well as tonal and metrical variations. Reflecting their origins in popular songs of the Tang dynasty (618–920), ci are categorized by tune patterns (found below the titles). Although the original melody of these songs is no longer known, the rhyme scheme and meter have been carefully preserved as discrete poetic forms. Chang Ch’ung-ho’s voice, richly allusive, playful and yet archly literary, visually manifests itself in her calligraphy: the flow of each character, of each line, and of the composition of the page functions as a musical score. The poems are in Chinese. Even the reader who is not able to understand the original language should look for the poems there, then to the information borne in the English as a guide. Ian Boyden Walla Walla, WA September 1999 」 －ZY.S. 2010- April -10，午後得閑錄於滬上「Cafe Bean」