Genre of poetry tsy It was especially common during the Song Dynasty (960-1279), but it also existed later, and was used to create a song based on another melody (in Western culture, it corresponds to the practice of creating a song based on another melody, in other words, performed "to the tune"). In this genre, text and music are almost equal. But if the poems themselves were recorded and preserved in China through poetry anthologies or collections of poets, 2 the music of these song motifs was lost, although sometimes it was passed down from teacher to student, often exclusively as a melody without poetic accompaniment. In the genre of tsy, the basis is music, which gives rise to a wide variety of poetic compositions. The purpose of this article is to study the relationship between text and music in works of this genre, in order to identify the extent to which intergenre coherence is manifested and how it can affect the aesthetic assessment of a poetic work.

Keywords: coherence, song poetry, music, tablature, Tao, Song Dynasty, Lu Yu, Xin Qiji.

FROM PHONEME TO CONTEXT

In Chinese, it is often impossible to determine by ear the meaning of an isolated word in oral speech, since there are numerous homophones in the same tone: only the zhi sound has 48 different meanings. It becomes necessary to repeat aloud a phrase or even a whole phrase, so that each individual term gets a clear meaning, depending on the context. In this language, each pronunciation, each sound corresponds to a certain number of characters that are differentiated in the letter and have a different meaning. If some of them are partial homophones (the tone allows you to distinguish them by ear), then others are full homophones: you need to see the hieroglyph to understand its meaning. This shows the special significance of writing in China.

Writing a hieroglyph clarifies its meaning, but not always: a hieroglyph can have a different meaning if it is pronounced and written the same way. In this case, the meaning can either be clarified with the help of the following hieroglyph, or it can be used as a guide.

1 This article was first published in French in 2010. Translated into Russian by V. P. Chepiga. Permission to publish was obtained directly from the author after her consultation with the publisher's representative: "Je vous donne officiellement, par le present message en date du 30 mai 2011, l'aimable autorisation de la maison d'edition L'Harmatta pour la publication en russe dans la revue "Boctok/Oriens" de l'article de Veronique Alexandre Journeau intitule "Coherence(s) dans le genre du poeme chante chinois (ci)" paru en francais dans: Arts, Langue et coherence. P.: L'Harmattan (Coll. L'Univers esthetique) p. 47 - 71, sous reserve de mentionner cette premiere parution en francais dans la presentation de l'article". Veronique Alexandre Journeau.

2 Encyclopedia of song poetry of the Song Dynasty, see: [Song da cidian, 2003], only for the XX century has 1500 books and hundreds of articles ... but without music.

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it remains intentionally ambiguous. This ambiguity is also created by varying the grammatical function of hieroglyphs [Journeau, 2009, p. 288-326]. I emphasize once again that it is the coherence of the whole that makes it possible to "define the indefinable". In a way, the speaker is aware of the boundary between consistency and inconsistency, and the poet "plays" with the subtleties of language, without creating, except in special cases, the effect of complete ambiguity: sooner or later, as we will see later from the poetic examples, he gives the key to correct reading. Marc-Mathieu Munch notes that " the coherence of a work is combined with the coherence of a language. The language system is a material that contains types of coherence that impose eternal restrictions on the creator of a work and pose a problem of choice " [Munch, 2004, p. 260].

DEFINITION OF COHERENCE IN CHINESE

The idea of coherence can be expressed in three or four hieroglyphs:

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In other words, the semantic group includes two hieroglyphs: 1) harmonize, unite in... and 2) unity, a single whole.

Coherence in poetry. Chinese poetry plays with language ambiguity, as it is intentionally more concise and suggestive than the text. Poetry is structured by the distribution of various elements that interact with each other through sounds, form, and meaning in order to form the components of a thought through an image; a thought capable of transposition through metaphor or metonymy, precisely because of the presence of these ambiguities.

The Chinese expression consisting of four characters and used to define the concept of "poetry" shows that in this area, the mind and imagination are combined:

It becomes clear that poetry is valuable for its own sake and contains a whole world. This is one of the reasons why the corpus of song poetry has come down to us in the form of poetry anthologies without musical motifs.

Coherence in music. Notes have their own characteristics and functions, which vary, just like in the language system. The interaction of words in poetry and notes in music has a similar function, especially in Chinese, where words are idio -, picto -, and phonograms. Some hieroglyphs, as well as some notes, will be decisive for meaning, structural elements of the overall architectonics of the work, others will have a decorative function, etc. Music gains meaning through their interaction, as in poetry, when inaccessibility to understanding or apparent inconsistency may be incomprehensible to those who are not initiated into their idea; then a certain subtlety of perception is achieved, or the cultural component comes to the fore.

In the European musical tradition, ambiguity of interpretation can be introduced intentionally, for example, with dissonance, with free chromatism or unusual modulations; in the Chinese musical tradition, it is created by "missing" the fifth note in the pentatonic, which entails one of the three close ending options, or by adding a sixth note that requires modalism. Let us clarify that there are prohibitions when playing the guqin, a favorite instrument of educated poets, whose performance can be considered an example of" coherence"; in this way, in particular, adequacy to the context is achieved. The relationship between adequacy and coherence has a long history in China; Liu Xie, the first theorist of Chinese literary criticism (V century), devoted the section "Adequacy and Coherence" to this issue [Liu Xie, 1978].

LU Yu'S POEM TO THE TUNE OF "ZHEGUTIAN"

Lu Yu (1125-1210) was a poet of the Southern Song Dynasty. In the genre of song poetry, there are about twenty poems by Lu Yu with about a dozen motifs, among which the poem to the tune of "Sky of iridescent Francolin" is characteristic of the coherence problem from the point of view of the connection between text and music. Title

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a specific poem is determined by the first line, which is often found in this genre, since the name of the poem is also the name of the motif.

The structure of the work (7/7/7/7 / / 6/7/7/7) is generally classical, if we do not take into account the first line of the second stanza, which consists of six hieroglyphs. It is somewhat of an octave, consisting of seven characters in rhyme-an in the 1st, 2nd, and 4th verses of each stanza, as was customary during the Song Dynasty. But the meaning of the poem does not appear immediately, as the analysis of the first verse and, as we will see later, the last verse shows, if we take into account the sequence of meanings of each hieroglyph:

Several combinations are possible, and the ambiguity is maintained until the fourth verse, in which the expression "Yellow Courtyard" gives us a clue: it is about the Taoist canon 3, which gives meaning to terms with multiple connotations and allows us to present the structure of the poem as follows (with codes indicated next to each other):

3 In French, two works are devoted to the principles of Taoism: [Le Livre de la Courjaune..., 1999; Robinet, 1995]. The first of them is devoted to the question of canons, the second is a general theoretical work. In Russian, see: Encyclopedia of Spiritual Culture of China. In 6 volumes, Moscow: Vostochnaya literatura Publ., 2006-2010. ed.

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"In general, it can be noted that most of the exercises of visual contemplation consist in identifying the deities in order to absorb them and then become unity itself; and thus re - create the double movement - from the one-of separation and connection, solve et coagula, which stand at the origins of the Beginning and End of the world" [Robinet, 1995, p. 189].

Even if the expression "maintain unity" may simply be synonymous with " concentration "[ibid.], the poem becomes contextualized.

From this point on, the poem focuses on the concepts of uniqueness and multiplicity, center and limits in time and space. The simultaneous differentiation of the structure and meaning of each term is the basis for making the poem clear to understand. In addition, the verse of six characters that follows the verse that reveals the Taoist approach becomes its natural continuation, since the hexameter is the main rhythm of Taoism, as well as the choice of the name of the song motif, which also carries a significant load, since the cry of this bird (francolin) is based on six notes (or five plus excerpt). This interpretation leads to the following translation 4:

In the follower's hearth
Haze, green mary
tending to the center,
At the tip of the pen
the tangible world
sprayed,
On the rise and fall
Haze born from jade
passing through bamboo
At the end
, the Yellow Courtyard
makes the mountains harden
A sudden desire, a whiff
weakening power
Without obstacles
in different places
Uniqueness reveals multiplicity
From the beginning
creations
the heart sees limits 5
Long delay
of course
waiting for the moment.

Coherence manifests itself in the structural and semantic totality and in the logical progression within the poem, which can be schematically represented in the space-time aspect using guide lines (arrows) and locations (points) as follows:

4 Rhyme moved to the beginning of the verse, double step (approx. by the author to translate from Chinese).

5 The Taoist interpretation allows us to translate "insides "by the word" limits, boundaries": "in the whole Chinese tradition, insides are important, because they have a meaning derived from the theory of the five elements... They form the lines of force of the entire body, which is organized around them like a structured aggregate... they are symbolic points connecting the microcosm with the macrocosm, man with nature. Every particle of the human microcosm contains something from the outside world" [Robinet, 1995, p. 96]. The inner and the outer reflect each other, they are in harmony with each other, like the earth and the sky.

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Figure 1. Explanatory diagram of the structure of Lu Yu's poem.

The last point, the postlude, corresponds to the moment that must come, the moment of renewal, the vanishing yang, revealing the emerging yin, invisible, lurking like a dragon in the waters, which is the theme of the second poem, which will be discussed later. The presence of mari / haze (first and third verse), where the focal point (first and fourth verse) and dynamics (second and third verse) alternate, confirms the Taoist approach 6 in the same way as the roll call of both stanzas - the first is dedicated to the personal, the second to the general. Both stanzas simultaneously implement the "concentration-progression" scheme.

Does this idea not correspond to the success of the work described in the chapter" Coherence " of his book by M.-M. Munch-in relation to the first inevitable consequence of coherence-unity in diversity or diversity in unity? "To be successful, a given' successful association ' must take the form of a structure that encompasses all the other sub-structures included in it. Coherence must pass through the entire product. It is like a power guide or a red thread running through the heart of art" [Munch, 2004, p. 263].

Identifying the coherence of a poem is a necessary condition in the translation process (this topic is considered in another work, see: [Journalau, 2010(2), p. 1-20]). However, in this case, in addition to the internal coherence of the poem, which turns out to be quite convincing, our goal is to investigate the more general coherence of the poem and music.

The genre of song poetry is characterized by the fact that the music has its own coherence before the poem is born. The music of song poetry is unknown to us through anthologies, it needs to be found and recorded in order for it to become available to the general public. In fact, if poets performed music, they preferred a particular instrument-the guqin. Musical notation, which is then used

6 The Taoist approach is often represented in Chinese painting by images of mountains and waters, where they symbolize the fundamental principle of opposition in complementarity-yin and yang-statics and dynamics.

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It is represented by cursive writing and codified by tablature, so we have an idea of it, but it was not always passed down from teacher to student.

Tablature "Zhe gu tian" ("Sky of iridescent francolin")7 exists in the textbook Shuhuai cao (1682), and its structure is identical to that of the poem.

It is indicated that it is created in the guxian manner, which is a tightening of the second, fifth and seventh strings compared to the standard tuning-do, re, fa, sol, la do, re, i.e. an increase of half a tone, which gives - do, mib, fa, sol, sib, do, mib. The music has the expected genre characteristics: an indication of the modal mode (mib, fa, sol, sib, do) in the prelude starting from sib, a dichord cadence on mib, and a final coda with a harmonic overtone, iterating over four of the five notes of the modal mode. Usually, when playing the guqin, the coda can have modulation deviations, here to [sib, do, re, fa, sol], with the replacement of mib with re by weakening the second and seventh strings, or to [lab, sib, do, mib, fa], with the replacement of sol with lab by tightening the fourth string.

The coherence inherent in the genre as such is born due to the combination of elements (notes) that combine organized parts (sequences) into a single whole, whose logic and progression are well defined: let's pay attention to the notes jun (fundamental tone, second, fifth), in our case it is mib, fa, sib.

Consideration of intergenre coherence leads to the question of whether the text interacts with music. This is true in most of the cases that I was able to review, despite the widespread opinion that these structures do not correspond to each other in terms of the number of signs ("znakosvukov" and "znakoslov"). This is due to the fact that some fingerings for a single character correspond to several notes, in our case, these are the fingerings for the third, fifth and seventh verses of 8.

The score may cause some confusion (Figure 2, left column)9. First of all, when directly comparing poetic and musical texts, it seems that their structures do not have a direct correspondence, but writing fingerings (they are written in one hieroglyph and correspond to several notes) is a little-known fact, since such fingerings are rarely used. Thus, we can see that the structures correspond to each other. However, the connection of the text with the music could only be structural, and the poetic composition would not be consonant with the music, in particular, because musical madrigalism, so valued in China and often found in the case when music was composed for poetry, seems to be absent here. How could the third musical line (the same note repeated seven times) express the dynamics that characterize the third verse ("On the rise and fall of the haze born of jade, passing through bamboo")? And how could the fourth line of music (a rising, leaping melody) express the idea of "concentrating to strengthen the mountains"?

Genre features of madrigalism, not directly, but still present here: the note do, repeated in the musical motif, is a sexta in fret, the note called "yu" is fixed with the help of a hieroglyph that also means "wing" and expresses the idea of flapping wings of a silver francoline in the sky (the name of the song motif). In fact, this relationship is not directly traced, it must be decoded, such a technique is generally characteristic of Taoism.

The text itself and its location (Fig. 2, right side) give the key to the composition: this is the case when the music (question-reflection) and the text (answer) replace each other, as in the classic dialogue of the musician Yu Boy and Zhong Zi-Qiqi, where the former calls out the answer of the second by playing the guqin. Translating the last verse is not easy

7 Sometimes translated francolin as partridge (francolinus pintadeanus, pheasant family, order querciformes), lives in south-eastern China. His cry consists of five or six powerful notes, hollow and metallic.

8 So, in this tablature, where one hieroglyph corresponding to one finger can correspond to seven notes, the text is divided into five columns and goes to the music represented by four columns, and not alternating "column with text - column with music" (another recording option).

9 Transcription of Guqin's tablature belongs to the author of the article.

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2. The connection of Lu Yu's poem with music.

This is an exercise, since the variants of his translation are numerous and he himself reveals the intentionality of Lu Yu's work. Each hieroglyph of the last verse has several meanings. One of the possible meanings implies the disclosure of intentionality at the very end of the poem (which, however, is guessed due to the shifted position in following the interpretative schemes of the internal poetic structure (Figure 1).This verse becomes a waiting verse suitable for responding to the penultimate musical utterance (note repeated seven times).

If we apply the same displacement technique to the beginning of the text, it becomes obvious that the poem "comes to life": the firmament of the mountains echoes in a similar way; the movement of the rise and fall of Mari echoes the movement up and down; the effect of mirroring the inner and outer (inside/limit) from the very beginning echoes the dichord (up-fa); and the one that gives birth to multiplicity corresponds to a note repeated three times; thus, according to Lao Tzu, Tao gives birth to" one"," one "gives birth to" two"," two "gives birth to" three"," three " gives birth to ten thousand things. The shift could prevent the structure and meaning of the poem from being harmonized with the melody due to the fifth note line (the transition in the poem from six "signs" to seven "signs"), but the melody can be read and played from the end of the fourth note line (fa

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in dichord) as the beginning of the fifth note line (fa repetition) to change the structure of 6/7 to 7/6. As you can see, Shuhuai sao 's textbook is special compared to other books, as we will see in the second poem.

The fact that it took the help of music to decide which meaning is most likely for the last verse confirms the existence of inter-genre coherence. Since one example is not enough for such a proof, as an appendix to the song poem already considered (see also: [Journeau, 2010(1)We will analyze another case of multiple coherence.

The motif" Song of the Water Dragon " (Shullong yin ) exists in several tablatures (from 1589 to 1751), a number of poems were composed on it, in particular by the following poets: Su Shi/Su Dongpo (1037-1101), Huang Ting jian (1045-1105), Qin Guan (1049-1100), Chao Buzhi (1053-1110), Zhu Dunzhu (1081-1159), Cao Xun (1098-1174), Fanchenda (1126-1193), Zhang Xiaoxiang (1132 - 1169), Xin Qiji (1140-1207), Chen Liang (1143-1194), Chang Gai (c. 1190-1194), Wang Yixun (dates of life unknown), Liu Kezhuang (1187-1269), Shi Yue (c. 1247), Wang Yuanliang (1241 -?), Chen Deu (dates of life unknown), Zhang Yan (1248-1320).

The structure of the poem is more elaborate than in the first case: 6/7 // 4/4/4 // 4/4/4 // 5/4/3/3 in the first stanza and 6/7 // 4/4/4 // 4/4/4 // 5/4/4 - in the second one, with some options. One of the poets intrigued me because he composed several poems with this structure and one poem with the structure of the first two verses replaced with 7/6 instead of 6/7 (only for the first stanza).

Taking into account the inversion in the first example, I chose the first stanza of the poem for analysis. This choice was also influenced by the fact that the structure of the second example has characteristics dating back to the ancient period. This is evidenced by the presence of the hieroglyphs xi and xie in this stanza. These particles, which give rhythm to the poem, are like pauses in music [Journeau. Des evolutions...], can be found, in particular, in the poetry of Qu Yuan, an outstanding poet of the second half of the 1st millennium BC, about whom M.-M. Munch, translator of Qu Yuan (his translation itself is an art) [Qu Yuan, 2004], says: "In the poetry of Qu Yuan (c. 343-c. 279 ?) there is something of the poetry of Villon and Hugo, add to this the grace of Racine, with which he clothed in rhyme human passions, and breathing faith and filled with bitterness texts of another exile-Chateaubriand." These words immediately evoke the thought of difficulties, disgrace, disfavor - of everything that makes up the fate of a courageous man of art in the society of courtiers. This may help to understand the poem, and the theme of "water dragon" in the title of several song motifs, including "Song of the Water Dragon", dates back to ancient times [Journeau, 2005, p. 234-260].

XIN QIJI'S POEM TO THE TUNE OF "SHUILONGYIN"

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The rhyme (on ' ao 'before ' xie', on ' ing 'around ' xi') is not final, but falls on the penultimate syllable, before the final particle, which is not pronounced, but reflects with a quarter pause the caesura between the verse and stanza (7 // 6 // 4/4/4 // 4/4/4 // 5/4/3/2+1).

Xin Qiji (1140-1207) was well acquainted with classical works, knew the metaphorical and symbolic functions of some images, especially the poetry of Qu Yuan, and it is from this position that one should approach the issues of inter-genre coherence and the problem of interpretation. The style of the poem is similar to that of Qu Yuan Xin Qiji briefly quotes "Chu Stanzas" Odors are a device that Qu Yuan uses to characterize a particular side of a person, depending on whether they are pleasant or not. So, the central concept of the second verse of the first stanza of Xin Qiji is "vapors", Qu Yuan also uses the metaphor "wild animals "to describe the cruelty of courtiers, and" beautiful animals "are used to characterize chaste characters, as for" monkeys", they observe and imitate.

In the third line, Xin Qiji introduces images of a tiger-leopard and a monkey. Even if the dragon is not clearly present here, this is because it is a yin water dragon that winters in the depths of the sea until it appears on the surface and before spring reincarnation in the air dragon, the yang dragon. This technique reflects a certain strategy, a wait-and-see attitude, waiting for a better time (in the continuation of Lu Yu's poem). At first it is only a small trickle, but it is in the very center of the utterance (the central verse of the poem), its power begins to manifest itself in the next passage, a turning point, as the ideas of Taoism (the second verse of the last passage, the first stanza) and the legend of the disciple left by the teacher to gain independence, are in the very center of a turbulent stream 10. Taking these key points into account, I propose the following translation of the poem::

Listen up - hanging jade plates are transparent 11 -
Oh, in the pure mirror - hairs of autumn! -
The teacher is motionless
scented smells
born and spread -
Royal tigers claim the place of man
thirsty, they drink from the stream
peaceful monkey jumping -
The power and speed of rivers and seas that
twist the boat like a straw
The teacher is helpless
the waves are cruel

10 This legend is mentioned in the Qincao of the poet Cai Yun (132-192), as well as in the preface to a piece of music of the same name, in which Cheng Lian explains to Bo that he can teach zither playing, techniques and melodies, but not the feelings that inspire beautiful playing. He tells the latter that his own teacher, Fang Zichun, took him to Penglai (Immortal Island) for this purpose and disappeared, leaving him alone on a cliff in the midst of raging waves, and then, without support, lost and desperate, he suddenly began to play beautiful music. This story is presented in more detail in the section " Cheng Lian "in the collection (dictionary)" Ocean of Words " (see: [Cihai, 1981, p. 1191]).

11 " Back in the XII century BC... The Book of Flowers gives this interpretation of the various properties of jade... the clear, beautiful sound that the thin jade plates make when they strike is an echo of unspeakable divine music, an expression of happiness... For religious ceremonies, thin jade plates of great value were also used, ringing melodiously with each stroke. A whole set of such plates was hung on gold chains or silk laces and struck on them with a wooden hammer... according to Chinese historians, the jades of different deposits made sounds of different tones. Jade was also used to make the insignia of emperors and courtiers. Back in the VI century BC, the emperor wore something like a mitre decorated with jade plates; the same plates hung on the sash of the emperor and his entourage" [Fersman A. E. Stories about gems. L., 1957. p. 112]. - Editor's note.

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The coherence inherent in the poem is determined by the logic of composition, which can be briefly presented as follows: the first two verses combine the sound and visual series that usually underlie the construction of the poem in China, as well as spatial and temporal connections; jade 12 in this case is a metaphor for the emperor (it is about the Court) and is often green colors are a symbol of spring; autumn is a metaphor for old age, which is often identified with the image of hair. The first verse of the next passage, which echoes the penultimate verse of the stanza, reflects the idea of Taoist non-action towards courtiers, regardless of whether they are virtuous people or not, but the first verse of the next passage expresses the relationship of observation (before attacking) - the relationship of courtiers (tiger), water is still only a simple stream (hidden water dragon) and the position of contemplation (before choosing) - the position of indecisive people and opportunists (monkey). The last part of the poem shows the water, the dragon's habitat, as a raging element, in the center of which we can become helpless, but at the same time released (a man floating with the current, the legend of the "water immortal") in the face of dangerous slander (from the courtiers), similar to those that fell to the fate of the fallen out of favor with Qu Yuan.

The musical theme to which this poem was composed exists under this title in eleven tablatures, of which four are accompanied by the poetic text 13 (first edition 1589, Yuwu qinpu in six parts). These tablatures are not identical, but they have the same basic structure (Figure 3):

The first group is repeated with the arrangement for five fingers (after the central hieroglyph indicating the search of open strings from top to bottom from the seventh to the first string), which is sometimes indicated in tablatures as a repeated performance of the part. It is clear that this ensemble can be read as AbA, AA' or A'A, i.e. both 7/6 and 6/7 variants are possible (Fig. 4), although it is generally accepted to consider an ensemble that includes both iterations as a single whole; preference is given to variant 6/7. Transcription of Chinese notation allows you to see the beginning of the motif and the structure for different tablatures of this motif: plucking the strings from bottom to top 14 (indicating the fret), then two notes of d and two notes of a, and, as a natural addition, re-playing the part (plucking from top to bottom).

12 The metaphor that includes "jade" varies depending on the context: from purity in Taoism, as in the first example, to the female image in love lyrics.

Yuwu qinpu 13 (1589), Qinshu daquan (1590), Wenhuitang qinpu (1596), Cangchunwu qinpu (1602), Boya xinfa (youben) (1609), Lixing Yuanya (1618), Sizhaitang qinpu (1620), Xixuan qinjing (late Ming era), Songsheng cao (1677 or 87), Shuhuai cao (1682), Yingyang qinpu (1751?).

14 The final note is indicated in parentheses, since it is either present (first to seventh string iteration), absent (first to seventh string iteration), or left to the discretion of the performer (first string iteration), since this note is played next anyway (and even repeated).

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The following two tablatures (Figures 5 and 6) use: in the first one - the repeated performance of the part, in the second-the reprise sign ("play first"). The difference concerns the last A, which is preceded by a long forschlag and followed by a vibrato. Both re's are linked to indicate the fact that the fingering that marks their performance consists of a single "motiao" rather than just two (i.e. tiao).

5 and 6. " Yuwu qinpu "(1589) and "Qinshu daquan" (1590).

The following tables (in chronological order of compilations) 7 and 8); in the first (1596), the string sorting begins with the fourth string and differs in the eschape and glissando by c between two notes of a, which is immediately noticeable in comparison with the second tablature (1602), which is the basic sample of performance with the difference that both notes are played with one finger.

7 and 8. Wenhuitang qinpu (1596) and Cangchunwu qinpu (1602).

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In the tablature of 1608 (Fig. 9), on the contrary, it is suggested to play this pe with two fingers, and the first la is played with a long forschlag and then with an ascending glissando to do and re, with a return to la. The coherence of this melodic decoration is explained by the fact that the first verse of the poem ends with the twice-sung la sound and that the hieroglyphs preceding it rhyme and are important for the meaning.

This tablature is accompanied by a poem, the text of which ("Endless autumn night") is located between the fifth of d-la, and the sound of la is extended with the help of melodic decoration.

In the next verse, on the contrary, a quickening sign is placed under the motiao fingering, where two notes of d are already connected, which is not identical to the original pattern. Thus, it is possible that the poet "plays" with a given musical motif and introduces new options to the musician's game: the musician and the poet listen to each other, as we could observe, for example, in the poem of Lu Yu, who composes while listening to music. Musical coherence thus turns out to be a combination of the rational and the sensuous, as discussed above, and uses a structure that is logical from the point of view of music, while at the same time freely developing melodic decoration. This article is not intended to conduct a musical analysis, so I will only note as a conclusion to the comparison that all subsequent tablatures, except for the tablature of 1682 (Shuhudi cao ), have their own specifics, while maintaining the basic structure 15.

Proof of intergenre coherence in the case of multiple tablatures and a large number of poems can help us understand the extent to which text and music interact. In the case of Xin Qiji's poem, the Sizhaitang qinpii tablature was analyzed (Figure 10) precisely because the elements of correspondence between the text and the music become clear: the hanging xi at the moment when there is no ascending search; the arrangement of pauses xie is important from a musical point of view and acts as a link with descending search after repeating the note or a quarter pause; as well as other less significant details. So, the melodic fret is standard (fa, sol, la, do, re), i.e. the main note in the pentatonic fa is gong, a term that also means "palace", but this note is associated in this case with the term jun (master, teacher) at the beginning of the second note line, this association occurs at the beginning of the eleventh note line.

15 A more detailed analysis was carried out by the author in the work "Music in Poems for singing in Classical China", which should soon be published [Journalau, in print].

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Figure 10. Relationship between Xin Qiji's poem (first stanza) and music (transcription of the Guqin tablature by the author of the article).

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Melodic embellishments echo the verses of the poem: the term (pour), used for liquids, corresponds to a note (la) with a broad vibrato; the climax of the connection between the tiger and the monkey, with the central yin of the dragon, is represented by a melody in the third line, the parallelism of which with the second line confirms the double metaphor: vapors and wild animals and correspond to courtiers; a boat like a straw is represented by acceleration in the tenth musical line, jumps by an octave, long and short foreshows.

Both poems, considered from the perspective of the problems of this article, are written in the spirit of Taoism, the cosmogonic character of which is reflected in some way in inter-genre coherence. Researcher Isabelle Robinet writes about "Chinese thought based on analogy": "The world is a collection of structures, a system of relations that apply to various phenomena and that determine the constant order of things with their unchanging values. Relatively complete structures, small aggregates, or various microcosms are built on the same model as the universe. All these aggregates can be analyzed in such a way that the connections that exist between the parts that make up complete organisms become clear... Thus, the body is created in the image of the universe "(Robinet, 2002).

conclusion

M.-M. Munch also presents the human body as one of the oldest models of coherence, as "an organism, unified and at the same time diverse, from head to toe" [Munch. 2004, p. 265]. He applies this definition to the area of literature that has been the object of aesthetic criticism in China (Wenxin diaolong - "Carved Dragon of Literary Thought"), where the author, Liu Xie, considers the issue of coherence:

In the Fuhui chapter of the treatise "The Carved Dragon of Literary Thought"there is a list that confirms the complementarity of feeling (on which organic and normative forms depend), expression, allusion and musicality: it includes four parameters of a literary work that are laid down by thought at the moment of its conception and make up an organic whole. It should be noted that this whole is compared to the human body, since "allusion and meaning are like the bone skeleton and spinal cord, expression and decoration are like the flesh and skin, musicality is like the breath and voice" 16.

Man interacts with nature, which has its own coherence, and creates with it.

list of literature

(An ocean of words). Cihai Beijing : Zhonghua shuju chuban 1981.

Joumeau V.A. Coherence dans le genre du poeme chante chinois ci // Arts, langue et coherence. Paris: L'Harmattan, 2010 (Coll. L'univers esthetique).

Journeau V.A. Des evolutions dans la structure poetique chinoise: de l'explicite a l'implicite pour le rythme, du vide au plein pour le sens // Rythmes etjeux phoniques dans les poesies des pays d'Asie. 3e congres du Reseau Asie-Imasie (CNRS/FMSH) (www.reseau-asie.com).

Journeau V.A. L'Harmonie de l'homme et de l'univers // Connaissance des religions. N75 - 76. "Les Pouvoirs de la musique: a l'ecoute du sacre". Paris: Editions Dervy, 2005. Octobre.

Journeau V.A. La Musique des poemes a chanter de la Chine classique (в печати).

Journeau V.A. Poete versus linguiste: entre la part de reve de l'un et le desir de realite de l'autre, quelle voie pour la traduction? // Revue Septet. N2. "Des mots aux actes. Traduction et philosophie du langage". Florence Lautel-Ribstein (dir.). Perros-Guirec, Anagrammes. 2009.

16 Translated from Chinese into French by Valerie Lavoix [Lavoix, 2004, p. 33-53].

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Joumeau V.A. Promenade au rythme de la cithare qin // Shanghai. Histoire, promenades, anthologie et dictionnaire / Nicolas Idier (dir.). Paris: Editions Robert Laffont, 2010(1) (Coll. Bouquins).

Journeau V.A. The Subtle Connection between Text and Music in a Daoist ci written by Lu You to the tune of Zhegutian // Proceedings of the 4th Conference on Issues of Far Eastern Literatures. Saint Petersburg. 2010(2).

Lavoix V. Le desenchantement de Liu Xie. Postures et devoirs du critique litteraire selon le chapitre "Du connoisseur" du Wenxin diaolong // De la difficulte de juger. Quelques ressources du mode critique en Chine et au Vietnam (Extreme-Orient Extreme Occident). 2004. N26.

Le Livre de la Cour jaune. Classique taoiste des 1V-V siecles / Presente, traduit et annote par Patrick Carre. Paris: Editions du Seuil, 1999.

Liu Xie . Wenxin diaolong (Au Coeur de l'ecriture-sculpture de dragons - "Carved dragon of literary thought"), Fan Wenlan Beijing: Renmin wenxue chubanshe 1978.

Munch M. -M. L effet de vie ou le singulier de l'art litteraire. Paris: Honore Champion, 2004.

Qu Yuan. Elegies de Chu / Traduit du chinois, presente et annote par Remi Mathieu. Paris: Gallimard, 2004 (Coll. Connaissance de l'Orient).

Robinet I. Comprendre le Tao. P.: Albin Michel, 2002. (Coll. Spiritualites vivantes).

Robinet I. Meditation tao'iste. P.: Albin Michel, 1995 (Coll. Spiritualites vivantes).

Song da cidian (Encyclopedia of Song Poetry of the Song Dynasty) / Wang Zhaopeng Liu Zunming (ed.). Nanjing: fenghuang chubanshe, 2003.

Qinqu jicheng, Zha Fuxi Zhonghua shuju chubanshe Beijing:

1963, 1406 p.

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