The Sources of the Texts in Mahler's Lied Von Der Erde

8/20/2019 The Sources of the Texts in Mahler's Lied Von Der Erde

1/14

The Sources of the Texts in Mahler's "Lied von der Erde"Author(s): Fusako HamaoSource: 19th-Century Music, Vol. 19, No. 1 (Summer, 1995), pp. 83-95Published by: University of California PressStable URL: http://www.jstor.org/stable/746721

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2/14

T h e

S ou r c e s o f

t h e

T e x t s

in

M a h l e r s L i e d

v o n

d e r

E r d e

FUSAKO

HAMAO

It

is well known

that

Gustav

Mahler selected

seven

poems

from Hans

Bethge's

Chinesische

Fl6te: Nachdichtungen chinesischer Lyrik

(1907)

and used them as texts for

Das

Lied von

der Erde

(1908).1Bethge's

anthology,

however,

was

not a

direct translation of

the

original

Chinese

poems.

Rather,

it

was

a

free

imita-

tion of another

anthology,

Hans Heilmann's

Chinesische

Lyrik

(1905),

which itself

had

been

based on two French translations: Le

Marquis

d'Hervey-Saint-Denys's

Poesies

de

l'Ppoque

des

Thang (1862), and Judith Gautier's Livre de

Jade

(1867).2 Although

these last two

works

hadbeen

published

in

the same

decade,

their

translationstyles differedgreatly.Hervey-Saint-

Denys

was a

distinguished sinologist,

and

his

translations

were,

in the

main,

scholarly

and

faithful.

On

the other

hand, Judith

Gautier

(the

daughter

of

Th6ophile Gautier)

was

only

a

dil-

ettante. Gautier

did not translate

Chinese

po-

ems

literally:

instead,

she

changed

them

to

cre-

ate her own

pieces

of chinoiserie.

As

a

result,

it

is

sometimes

difficult

to

identify

her sources.

These differences in translation style may

be

perceived

in

the

seven

poems

used

in

Das

Lied. While the sources of the five

poems origi-

nating

from

Hervey-Saint-Denys's

Poesies

are

relatively easy

to

identify,

those of

the two

19th-Century

Music

XIX/1

(Summer

1995).

O

by

The

Re-

gents

of the

University

of California.

'Hans Bethge, Die chinesische Flote: Nachdichtungen

chinesischer

Lyrik

(Leipzig,

1907).

2Hans

Heilmann,

Chinesische

Lyrik,

vom 12.

Jahrhundert

v.

Chr. bis

zur

Gegenwart

(Munich,

1905).

Judith

Gautier,

Le Livre de

Jade: Poesies

traduites du

Chinois

(1st

edn.

Paris, 1867).LeMarquisd'Hervey-Saint-Denys,

Poesies

de

1'4poque

des

Thang (Paris, 1862).

83


3/14

19TH

CENTURY

MUSIC

poems

derived

from

Gautier's

Livre are

more

problematic:

Der

Einsame

im

Herbst and

Von

der

Jugend,

he

texts

for the second and

third

songs.

(A

complete

list of the

sources

for

all seven is providedin the Appendix.)Henry-

Louis

de La

Grange's

Gustav

Mahler III

(1907-

1911)

dealt

at

length

with the texts of Das

Lied.3 With the

help

of scholars

of

Chinese

literature,

La

Grange

presented

the

original

Chinese

poem

for

Der

Einsame

im

Herbst,

but

he

was unable to

identify

the source for

Von

der

Jugend.

La

Grange's

proposal

for the

original

poem

for Der Einsame im

Herbst,

however, was not accepted by Donald Mitchell

in his Gustav

Mahler:

Songs

and

Symphonies

of Life

and Death.

According

to

Mitchell,

the

source

for Von der

Jugend

perhaps

will

re-

main

unidentifiable

since Gautier

. . .

seems

here

to have contrived

on whatever

basis

a

piece

of

chinoiserie

of undoubted charm

and

elegance

but one

singularly lacking

in authen-

ticity

of

detail. 4

The

origin

of the Das

Lied

texts has provoked he interestof not onlyWest-

ern

musicologists

but also Eastern

iterary

schol-

ars.

Kohjiro

Yoshikawa,

a

prominent

Japanese

scholar

of

Chinese

literature,

undertook the

same

study

several

years

earlierthan La

Grange

and

Mitchell.5

Like

Mitchell,

Yoshikawa

con-

cluded

that the

original

poems

for the

texts

used

in the two

songs

areunidentifiable.

The

major

obstacle

in

tracing

the

original

poems is the lack of authenticity in Gautier's

translation.

Nonetheless,

there still remains

a

way

of

identifying

the

sources,

for the

previous

studies

have overlooked two

crucial

points.

First,

because

they

examined

only

the

poems

in

question,

they

did not realize that

a

thor-

ough

investigation

of all of the

poems

in Le

Livre

could

show us how she

tended to

change

the

original

poems

in

general.

Without such a

comprehensive

examination,

we cannot

judge

to what extent the

differences

(in

the formal

structure,

in

the

meanings

of the

texts,

and

so

on)

between her

poem

and

its

possible

source

are

due to Gautier's free

translation.

Second,

although

the name of the

poet

is Gautier's

only

clue

indicating

the

source,

there

is

no

guaran-

tee that these attributions were correct.If this

is the case

in

our

search for

originals,

we would

need to

go

over all

the

Chinese

poems

from

ancient times to the

mid-nineteenth

century.

But

this

is

obviously

impractical:

the number

of the

poems

written

in

one

Dynasty

alone

would be enormous. We

thus need to narrow

down the

possible

candidates.

In

this

regard,

Joanna

Richardson's

biography

of

Gautier

pro-

vides the helpful information that in working

on Le Livre

Gautier had

studied Chinese manu-

scripts

in

the

Bibliotheque

Imperiale

in

Paris.6

If

she had used

materials

from

only

that

li-

brary,

then the

original poems

must have been

included

in

its

Chinese collection.

Working

from

this

assumption,

I

examined

all

of the Chinese

manuscripts

that the

Bibliotheque

Imp6riale acquired

before 1867

(the year of Le Livre).After an examination of

the

collection,

as well as

a

reinvestigation

of the

poems

in Le

Livre,

I

have concluded that

the

original poem

for Der

Einsame

im

Herbst

was

indeed the

one

suggested by

La

Grange,

and

I

have

also identified the

source

for the

poem

that

became Von der

Jugend.

As

will

be

seen,

the

difficulty

of

identifying

the

origi-

nal

is traceable

to Gautier's mistakes

in trans-

lating Chinese. To see why the mistakes hap-

pened,

I

shall first

survey

the

poems

in LeLivre.

GAUTIER'S LIVRE

DE

JADE

Judith

Gautierwas born in

1845;

her interest

in

the

far East

began

when

she

was seventeen

years

old.

At that time she visited London

with

her

family

to attend the second Great

Exhibi-

tion,

where she encounteredtwo

Japanese

men

with unfamiliar

clothing

and

faces.

Soon after

this

experience,

she

started to

learn Chinese

from

Tin-Tun-Ling,

whose

presence

in France

3Henry-Louis

de La

Grange,

Gustav

Mahler

III: Le

Genie

Foudroyd

1907-1911) (Paris,

1984),

pp.

1121-22.

4Donald

Mitchell,

Gustav

Mahler:

Songs

and

Symphonies

of

Life

and Death

(Berkeley

and Los

Angeles,

1985),

p.

461.

SKohjiroYoshikawa, On the Sources of Mahler'sDas Lied

von

der Erde

(Japanese),

n

Saitoh-Monki

(The

West

and

the

East) (Tokyo, 1972), pp.

215-16.

6Joanna

Richardson,

Judith

Gautier:

A

Biography

London

1986),

pp.

25-26.

84


4/14

was surrounded

by

mystery.7

In 1865 she

de-

rived

a

plan

to translate Chinese

poems

into

French with the

help

of

Tin-Tun-Ling:

this

be-

came

Le Livre de

Jade.

For

this

project,

as

men-

tioned above,she went throughthe manuscripts

of the Chinese collection of the

Bibliotheque

Imp6riale.

This is

confirmed

by

her

father's

letter,

dated

February

1866,

asking

the

admin-

istrator of the

Biblioth&que

if

he would let

her

borrow

manuscripts

so that she

might

finish

her work at home. 8 The

request

was

granted,

and the

work

began.

The

first edition of Le Livre was

published

in 1867 and was well received.9A collection of

seventy-one

poems,

the book

is divided into

seven

sections under the

titles:

Lovers,

Moon,

Autumn, Travelers, Wine,

War,

and

Poets.

Each

poem

is

accompa-

nied

by

the name of

the

original

author,

but

does not have

any

further annotation or ex-

planatory

footnote. Gautier revised the book in

1902.

I

was not

absolutely

sure about the ac-

curacy of the poems which made up this little

book;

and

so

I

did not dare

affirm that

they

were exact translations

....

Later

on,

I

took

up

Le Livre

de

Jade

again.

I

enlarged

it a

great

deal

and

corrected

it

ruthlessly, and,

this

time,

I

could

guarantee

that it

was translated

from the

Chinese. '10

he

1902

edition

includes

forty

new

poems,

resulting

in

a total

of

111.

Although

the

overall

format of the

1902

edition was main-

tainedin latereditions (published n 1908, 1928,

and

1933),

the

way

of

attributing

the name of

the

poets

changed.

Gautier

spelled

out each

name in the first

edition,

but

alongside

she

added the

Chinese

characters

of

the name

in

the

1902 edition. The

Chinese

characterswere

then

omitted

in

the

1933

edition.

The

reason

for the

omission is not

known,

but it

is

likely

that she

noticed that she

mistakenly

used

in-

correct Chinese

characters for some of the

names in the 1902 edition.

I

shall

return to

this

incorrect

use of the characters

in

my

discus-

sion of Der Einsame im

Herbst.

When Heilmann used Le Livre as a source

for his Chinesische

Lyrik,

he must have

used

the 1902 edition: Heilmann's

book from

1905

contains his German

translations of certain

po-

ems

that first

appeared only

in the 1902

edi-

tion.

By

and

large,

Heilmann translated

liter-

ally

the

poems

from

Gautier'sLivreand

Hervey-

Saint-Denys's

Poesies.

(How

Bethge

subse-

quently

changed

Heilmann's

translations,

and

Mahler changed them further in the composi-

tion of

Das

Lied,

is

beyond

the

scope

of this

study.'2)

Among

the

111

poems

appearing

in

the 1902 edition

of Le

Livre,

the

sources of

about

sixty

are identifiable. In

the

identifiable

poems,

Gautier's

translations have the

follow-

ing

characteristics:

1.

When

the

original

Chinese

poem

was

relatively

long,Gautieroftentranslated nlya partof it. The

remainingpart

was either

left unused or

used

to

make another

poem

with a

different

itle.

For ex-

ample,

Gautier

createdat least

four short

poems

from

Tchan-Jo-Su's

Flowers

nd

Moonlight

on

the

Spring

River,

a

long

Chinese

poem.'3

There s no

indication,

however,

that

the

procedure

was ever

reversed:

he never

combined

more than

two Chi-

nese

poems

o

createa new

single

poem.

2. Proper ounsareoftenchangedo commonnouns

in

the

process

f

the

translation,

s in

AuBordde la

riviere

(At

the River's

Edge).

This

poem

is

based on

Li-Tai-Po's

Lotus-collecting

Song,

in

which

the

scene is

indicated

specifically

as the

Jo-yeh

river.

Hervey-Saint-Denys

translated

the same

poem

in

his

Poesies,

but his

translation is

more

literal,

as

reflected in his title Sur

les Bords

du

Jo-yeh

(At

the

Edge

of

Jo-yeh River).

Throughout

Gautier's

poem,

however,

Jo-yeh

river s

changed only

to

a

river. 14

FUSAKO

HAMAO

Source

Texts

in

Lied von der

Erde

7One

story

was

that he

had

been

brought

to France

by

Napoleon

III

after the

China war to be an

assistant teacher

of

Chinese. Another was

that he

had

been

brought

o

France

by

Monseigneur Callery,

Bishop

of

Macao,

who

had

en-

gaged

him

to

work on

a

Chinese-French

dictionary.

8Richardson,

udith

Gautier,

p.

25.

9This version was

published

under the name

of

Judith

Walter.

'0Suzanne

Meyer-Zundel,

Quinze

Ans

aupres

de

Judith

Gautier

(n.p., 1969),p.

245

(cited

from

Richardson,Judith

Gautier,

p. 56).

I

was

unable to

consult the

1908

and

1928 editions.

'2This

is

discussed

in

detail in

the

studies of La

Grange

and

Mitchell.

'3These

our

poems

are Le

Fleuve

paisible

(The

Peaceful

River),

Sur la

Riviere

bordee de fleurs

(At

the

River's

Edge

with

Flowers),

Au

Borddu

petit

lac

(At

the

Edge

of

the

Little

Lake),

and

Une Femme devant

son

miroir

(A

Woman

before

her

Mirror).

14 Von

der Schbnheit, the poem used in the fourth song

of

Das

Lied,

is

derived

rom


version

of Li-Tai-Po's

Lotus-collectingSong.

85


5/14

19TH

CENTURY

MUSIC

3.

A

noun

is

often

modified

by adjectives

that do

not

exist in the

original poem.

Gautier

favored

adjec-

tives that

indicate color.

In

Li-Oey's

Poete se

couche

dans la

foret

pour

fuir la chaleur du soleil

(A

Poet

Lies Down

in

the

Forest

to

Shelter Himself from

the

Heat of the

Sun),

for

instance,

she

changed

color of

the

moonlight

to

blue color of the

moonlight. '15

Similarly,

she altered

moonlight

to

white moon-

light

in

Li-Tai-Po's

Auberge

The

Inn),

and mist

to blue mist

in

Ouan-Po's

Pavillon

du

jeune

roi

(The

Pavilion of the

Young

King).16

4.

Gautier sometimes

also

added new words or

even

sentences to

the

original

text.

A

typical example

is

found in Chant des oiseaux, le soir (Song of the

Birds at

Night),

which

is

based on

Li-Tai-Po's fa-

mous

poem,

The

Crows that

Caw

at

Night.

The

original

poem

consists

of six

lines,

each of which is

comprised

of seven Chinese characters.The six lines

are

translated

literally

in

fig.

la.

As

indicated to

their

right,

the text of Gautier's Chant des oiseaux

corresponds roughly

to the six lines of

Li-Tai-Po's

Crows that Caw at

Night.

The words or

sentences

added

in

Gautier's

poem

are

underlined

in

fig.

la.

The words with bright flowers appearing n the

second

strophe

of Gautier's

poem,

for

instance,

do

not

exist

in the

original

poem.

We

may

also notice a

large-scale

addition

in

the last two

strophes

of

Gautier's

poem.

Unlike

the

above

example, though,

this

longer

addition

was

not Gautier's creation. The

last two

strophes

reflect the standard ootnote

added

by

commentators whenever this

poem

is

compiled

in a

collection

of

Chinese

poems:

The

heroine of

the

poem

has

been known as the wife who sent a

silk with embroideredverse to her husband.He was

so

pleased

with her fine

work

that he fetched her to

the

place

where

he lived. In this

instance,

Gautier

incorporated

the footnote as a

part

of

her

piece,

as

if

it had

been a

part

of

the

original.

5. The sentence

order s

rearranged

reely;

this kind

of

change

is

particularly

common.

6. Gautier'sattributions arenot reliable.In a case of

a

poem

by

Po

Chii-I,

Gautier confused the name of

the

poet

with the

name of

the

heroine of

the

poem.17

The

same

poem

also has

different

attributions

in

each edition

of Le

Livre.

Such a

case will be dis-

cussed in the

next

section.

It

is sometimes

easy

to

identify

the

sources

of Gautier's

poems,

and,

in

fact,

some transla-

tions are

nearly

literal.

Problems

arise,

how-

ever,

when her

poem

and a

possible

candidate

for

the

original

are similar

but

do not corre-

spond

entirely.

In

that

case,

we have

to

deter-

mine

whether

they

are

different

because

they

are

two different

poems

or

only

because Gautier

made

substantial

changes

in

the

course

of trans-

lation.

In

making

this

determination,

it

is

im-

portant

to

keep

Gautier's

translation

habits,

summarized

above,

in

mind. For

example,

when

Gautier's

poem

seems

to

be

only

a

part

of a

longer

Chinese

poem,

the

length

of her

poem

alone cannot

substantiate a claim that

the

longer

cannot be the source of

the

shorter;

on the

contrary,

if

the

length

of the

poems

is their

only

difference, rather, it is likely that they are the

same

poem.

The same

procedure

is extendable

to

poems

that differ in

more

than

two

respects.

Thus,

employing

this

strategy,

I

shall

investi-

gate

the two

poems

that

became

the texts of

Der

Einsame

in

Herbst and Von der

Jugend.

DER EINSAMEIM HERBST AND TCHANG-TSI

Mahler employed Die Einsame im Herbst

(The

Lonely

Woman

in

Autumn)

by Bethge

as

the text of the

second

song

of

Das Lied. Mahler

himself

changed

the

gender

of the

person

in

the

poem

from

female

to

male,

as

shown

in the

title

of

the

song,

Der

Einsame

im

Herbst.

Bethge's poem

was taken

from Heilmann's

Herbstabend

der

Einsamen

(Autumn Night

of the

Lonely

Woman),

which was a translation

of Gautier's Soir d'automne (The Autumn

Night). Although

we can

easily

trace the

path

from Mahler's text to Gautier's

poem,

Gautier's

source is more

difficult. La

Grange

regarded

In

imitation of the old

poem

'The Autumn

Nights

Are

Long'

(shortened

The Autumn

Nights

5The ource

of this

poem

is Li-Wei's Autumn

Night

in

a

Forest.

The

poet's

name

is

spelled

Li-Wei n the Wade-

Giles

Romanization

system.

Since

this

system

was

con-

ventional

from

the late

nineteenth to the

early

twentieth

century-the period

of

the

works in

question

here-I shall

use it in the discussion unless otherwise noted.

'6Their

sources are

Li-Tai-Po's

Night Thoughts

and

Wang-Po's

Pavilion of

King-Teng.

7This

s

Po

Chii-I's

Ballad

of Endless

Woe.

In

Gautier's

V'oeud'amour (Woeof Love),she mistakenly indicated

the

name of the heroine

appearing

n

the

poem

Yan-Ta-

Tchen

as the

poet's

name.

86


6/14

The

Crows that Caw at

Night

Li-Tai-Po

Literal

translationof the Chinese

poem

line 1

Throughdusty

clouds

beside the

Wall,

the crows come

home.

line

2

When

they fly

to come

home,

they

are

cawing noisily

on

the branches.

line

3

A

lonely

wife is

weaving

a

piece

of silk

at her loom.

line 4

The

green

curtainseems mist

to

her;

she

tries to talk to

someone

through

he window.

line 5 Her shuttlestops;she sadly dreams of her husband

who has been absent.

line 6

She

feels the house how

desolate,

and her tears

fall

from her

eyes

like

rain.

Song

of the Birds at

Night

Li-Tai-Po

Translation

of

Gautier's

Chant

des

oiseaux,

le

soir

In the

cool

wind,

the birds

sings gaily

on the lines

1

&

2

transversal

branches.

Behind he screen

of her

window,

a

young

woman,

who

lines 3 &

4

is

embroidering

a

piece

of silk

with

bright

flowers,

listens to the birds

singing

joyfully

in the

tree.

She

raises her head and her

hands fall

down;

she has

line

5

thought

of him who has

been

away

for a

long

time.

Thebirds

can meet

again

in the

leaves;

but

the

tears,

line 6

which fall from the young woman'seyes like

thunderstorm,

do not recallher

absentee.

She

raises her

hands,

and

bends her head

overher

work.

I

will embroider

a

piece

of verse

among

the flowersof

commentary

his

robe,

and

perhaps

the words will tell him

to

return.

Figure

la:

Comparison

of Li-Tai-Po's

Crows that

Caw at

Night

and Gautier's

Song

of the Birds

at

Night (trans.mine).

~4~7~E~J

-ii~~f~fEfii~-~~fti

~C~:;f~e~~~;~.ll?~F;~~h

Chantdes

oiseaux,

le

soir

Li-Tai-PN

from

Judith

Gautier's Livrede

Jade

Au

milieu du vent

frais,

es

oiseaux

chantent

gaiement,

sur les

branches

transversales.

Derriere

es

treillages

de sa

fenktre,

une

jeune

femme

qui

brode des

fleurs brillantes

ur une 6toffe de

soie, &coute

es

oiseauxs'appeler

joyeusement

dans les

arbres.

Elle

relive

sa

tote et laisse

tomber ses

bras;

sa

pens&e

st

partie

vers

celui

qui

est loin

depuis

longtemps.


7/14

19TH

CENTURY

MUSIC

In imitation

of

the

old

poem

The

Autumn

Nights

are

Long

Ch'ien-Ch'i

Literal translation

of

the Chinese

poem

line

1

Jade

frost flies

through

the

Milky Way

of autumn

sky.

line

2

The

north wind

sweeps

the

scent

of the lotus flowers.

line 3

I weave,

thinking

of

my

lover,

until the

lonely lamp

goes

out.

line 4

I

wipe

my

tears,

thinking

how

slowly

the

cold

night

wears

on.

line

5 The blue

clouds,

pure

like

water,

pass

before the

eaves.

line 6 The moon

rises;

he wild

goose

flaps,

and the crow

caws,

flying

home to roost.

line

7

Who

is

the

young

wife

working

the

pattern

of

a

love bird on

her loom?

line

8 A

silk

curtain

and

an

inlaid screen conceal

the

door

to

the

inner

room.

line

9

Beside

the

lucent

window

she

hears

the

falling

leaves.

line 10

Ah,

what

a

pity

is

the

lonely

woman whose husband is absent.

The Autumn

Night

Tchang-Tsi

Translationof Gautier's Soird'automne

Blue mist of autumn

spreads

over

the

river;

line

1

the

little

grasses

are covered with

white

frost,

as

if a

sculptor

had

sprinkled

the dust

of

jade

over them.

Flowersdo

not

have the scent

any

more;

line 2

the north wind is

going

to make them

fall

down,

and

soon

the

lotus

blooms

will

be

sailing

in the river.

My lamp

is

going

out,

the

night

is

over,

line

3

I will go to bed.

The autumn

s

very

long

in

my

heart,

and

line

4

tears,

which I

wipe

off from

my

face,

will be

always

renewed.

When will the

sun

of

marriage

ome

to

dry

my

tears?

Figure

2a:

Comparison

of

Ch'ien-Ch'i's

Autumn

Nights

Are

Long

and

Gautier's

Autumn

Night

(trans.

mine).

~5~~jk~ ~

5~f~~i~

~jk~lff~F~~~i

t~~~~1~3~j~~3~

~P~rJf~~ft~a7~e

a ~~l~iPS5~R~i~

~I~~S~~t~~R~~sc~

ss~ts~arl~~i

Le soir

d'automne

Tchang-Tsi

from JudithGautier'sLivredeJade

La

vapeur

bleue de

l'automne,

'6tend

sur

le

fleuve;

es

petites

herbes

sont

couvertesde

gelke

blanche,

Comme si un

sculpteur

avait

laiss6

tomber sur elles de la

poussiere

de

jade.

Les

fleursn'ont

d6ja

plus

de

parfums;

e

vent

du nord va les

faire

tomber,

et bient6t

es

nenuphars

navigueront

sur le fleuve

Ma

lampe

s'est eteinte

d'elle-meme,

la

soiree est

finie, je

vais

allerme coucher.

L'automne

st

bien

long

dans

mon

coeur,

et les

larmes,

que

j'essuie

ur

mon

visage,

se renouvelleront

oujours.

Quand

donc

le

soleil

du

mariage

vien-dra-t-il

echer

mes

larmes?

Figure

2b:

Original

texts of Ch'ien-Ch'i's Autumn

Nights

Are

Long

and

Gautier's Soir d'Automne.

88


8/14

and

so

on-but,

based

on a

report

to him

from

David

Hawkes

(whom

he

had asked

for

help

in

finding

the

original),

he

ultimately disagreed

with

La

Grange.19

Hawkes,

he

reports,

had raised

two telling points. First, there was confusion

about the

name of

the

poet: although

Gautier

attributed the

poem

to

Tchang-Tsi

in

the

1902

edition,

she also added the

Chinese char-

acters that

are read not

as

Tchang-Tsi

but as

Li-Wei

(fig.

3 shows the Chinese

characters).

Hawkes

examined the 1902

edition alone and

suggested

that

there

never

was,

as far as I had

known,

any

poet

called

Li-Wei-or indeed

any-

one else of that name that one has heard of.

The

poem

remains

unplaceable.

Second,

Hawkes

regarded

The

Autumn

Nights

as an

unpopular poem

and

pointed

out

its

very

unfa-

miliarity

as a reason

to

question

it as a source

for

Gautier.

This is because

the authentic

po-

ems

we are

dealing

with

are all of

them

ac-

knowledged

'anthology'

items,

not unfamiliar

texts.

In addition to these two

points,

Mitchell

added a third: Le Soir d'automne does not

correspond

to the

whole

poem

of The Au-

tumn

Nights. 20

Like Hawkes and

Mitchell,

Yoshikawa,

the

only

other

major

scholar

to examine this

issue,

did

not

accept

the view

that The

Autumn

Nights

is the authentic source because Ch'ien-

Ch'i,

the author

of

the

poem,

cannot

be

spelled

Tchang-Tsi.

He

suggested

that there

might

have been two poets whose names are spelled

Tchang-Tsi

n

the

Tang

dynasty,

but

he

could

not

find

any

single

poem corresponding

to Le

Soir d'automne in the works of the

two

poets.

To

summarize,

while scholars

have

long recog-

nized the

similarity

between

Le

Soir

d'au-

tomne and The

Autumn

Nights,

they

have

been

puzzled by

the name of the

poet

attrib-

uted

by

Gautier,

for it does not

match that of

Ch'ien-Ch'i, the correct author of The Au-

tumn

Nights.

Before

proceeding

to

the discussion

of the

name,

I

shall examine

just

how close the two

poems

are.

As

illustrated in

fig.

2a,

Le Soir

d'automne

consists

of six

strophes,

which cor-

responds roughly

to

the first four lines of The

Autumn

Nights.

In

fig.

2a the

words or

sen-

tences

that are not

found

in the

original

are

underlined.

Comparing

the first line

of

Ch'ien-

Ch'i's

poem

with

the

first

strophe

of

Gautier's,

one notices that the latter includes colorwords:

blue

mist and

white frost. This

addition of

adjectives

(as

seen in

point 3)

is one of

Gautier's

several

tendencies.

Also,

the second

strophe

of

Gautier's

poem,

as if a

sculptor

had

sprinkled

the

dust

of

jade

over

them,

is not included in

Ch'ien-Ch'i's

poem.

This

sentence can

be

in-

terpreted

as an

expansion

of the

jade

frost

that

appears

at the

very

opening

of

The Au-

tumn Nights. Again, the addition of a new

sentence is not

an

uncommon

practice

in

Le

Livre

(point 4).

In

addition to

the

above,

which

may

be un-

derstood as

typical

Gautier

additions,

one finds

a more essential difference between

the first

sentences of the two

poems:

while Le

Soir

d'automne refers to

a

river,

The

Autumn

Nights

had described the

Milky Way.

Such

a

difference,however, does not indicate that they

are two

different

poems.

On the

contrary,

it

emphasizes

the

strong

connection

between

them,

because the

second

Chinese

character of

the first line of

Ch'ien-Ch'i's

poem

(fig.

2b)

includes two

meanings,

Han

River,

and the

Milky

Way. Notwithstanding

its two mean-

ings,

it has been

customarily

interpreted

as

MilkyWay by

commentators and translators

of Chinese poems. (For nstance, when Hervey-

Saint-Denys

translated the same

poem

in

Poesies,

he

correctly

translated it as the

Milky

Way. 21)

Given the

character's

ambiguity,

how-

ever,

it is understandable that Gautier

trans-

lated it as Han River and then

changed

the

proper

noun to the common

noun,

a river-

point

2

from the

preceding

section

(Gautier's

tendency

to omit the word

that

indicates

a

specific place).

If

one

supposes

that

the river

came

from

Gautier's

misunderstanding

f the Chinese char-

acter,

this

in

turn

explains

the recurrenceof the

river in the third

strophe

of Gautier's

poem,

And soon the lotus blooms will be

sailing

in

the river. She

may

have added this sentence to

connect the scent of the lotus flowers with the

FUSAKO

HAMAO

Source

Texts

in

Lied

von der

Erde

'gMitchell,

Gustav

Mahler,

p.

456.

20Ibid.,

.

458.

2'Hervey-Saint-Denys,

Poesies,

p.

277.

89


9/14

19TH

CENTURY

MUSIC

Titles Gautier's

attributions

Gautier's attributions

Gautier's attributions

Original poets

&

in

the 1867 edtion in the 1902

edtion

in the 1933 edtion

poems

L'4pouse

vertueuse

Tchang-Tsi

Tchang-Tsi

Tchang-Tsi

N

(Chang-Chi/Zhang-Zhi)

(Chang-Shuo/Zhang-

(The

Song

of a

Faithful

Shuo)*

Wife)

Au

milieu

du

fleuve

Tchan-Oui

Tchang-Tsi

Tchang-Tsi

3

(Chang-Wei/Zhang-Wei)

(Chang-Shuo/Zhang-

(Drinking

a

Cup

of Wine at

Shuo)

the

Lake)

Le soir d'automne

Tch&-Tsi

Tchang-Tsi

Tchang-Tsi

(?)

(Ch'ien-Ch'i/Qian-Qi?)

(Li-Wei/Li-Wei)

(In

Imitation of the

Old

poem 'The Autumn Nights

are

Long' ?)

La

feuille

blanche

Tch&-Tsi

Tchang-Tsi

Tchang-Tsi

(Ch'ien-Ch'i/Qian-Qi?)

(Li-Wei/Li-Wei)

(A

Study

in

the

Entrance

of

a

Canyon?)

*Chinese names are

spelled using

the

Wade-Giles

system/Pinyin system.

Figure

3: Gautier's attributions

in

the three

editions

of Le Livre

de

Jade.

river

that

was introduced

in

the first line

of her

poem.

(The

addition

of

a

new

sentence is dis-

cussed

in

point

4.)

Likewise,

the last

strophe

of

Le

Soir

d'automne,

When will the sun of

marriage

come to

dry my tears? ,

seems to

be a

paraphrase

of the fourth

line of

the

original.22

All

of this

strongly suggests

that Gautier's

poem

was indeed basedon the first

four ines

of

Ch'ien-

Ch'i's poem. Again, shortening a source is one

of

Gautier's

frequent

practices,

mentioned

in

point

1.

Once

realized,

this

may

be considered

a

response

to the issue raised

by Mitchell,

who

noted

that Gautier's

poem corresponds

to

only

the first

part

of Ch'ien-Ch'i's

poem.

I

now return to other

objections

mentioned

earlier.

Hawkes

argued

that The Autumn

Nights

was

not an

anthology

item,

unlike

the other

poems

used in Das Lied. But

Hervey-

Saint-Denys's

work

includes

a

translation

of

the

same

poem,

and

one

of the source

collec-

tions for his

book,

a famous

anthology

of

the

Chinese

poems,

contains this

poem;

this

an-

thology had also been in the Chinese collection

of

the

Biblioth6queImp6riale

before

1867.23

The

poem

was indeed

an

anthology

item,

and it

was

one

of the

popular

poems

available

in

nine-

teenth-century

Paris.

As for the

last

objection,

Gautier's

faulty

attribution

of the

poem

to

Tchang-Tsi,

pre-

vious studies have overlooked

a

significant

clue

to

the

problem,

as

each

study

examined

only

a

single

edition;

but Gautier

gave

differentnames

for

the

poet

in

the

three

editions of

Le Livre.24

As

summarized

in

fig.

3,

Le Soir d'automne

was attributed

to

Tch6-Tsi

in

the

first

edi-

tion, published

in

1867.

The name

was

changed

22According

o

La

Grange,

his

sentence

corresponds

o the

tenth (last) line of the original. The relationship is not

clear,

however:

La

Grange

cited

the

similarity

between

Gautier's

poem

and the

original

Chinese

poem

in

the use

of the

word

marriage;

but another

Chinese version exists

that does

not contain

the

word.

This

issue

pivots

on

the

last Chinese

characterof

the

tenth

line. One

Chinese ver-

sion reads:

The

lonely

woman

who

does

not have a

robe

for

wedding

ceremony ;

and the other reads:

The

lonely

woman whose husband

is absent.

Although

there is

no

way

of

confirming

on which version

Gautier's

translation

was

based,

the latter

version is

the more

likely,

since


ranslation

took it as the source.

Be-

cause his book was published in 1862, it is conceivable

that

Gautier consulted

the same source

in the

Bibliotheque

Imperiale

in Paris.

23Kouthanghi ho kiai tsien tchou (Poemsof the Ancient

and

Tang

Dynasties),preface,

dated 1732.

24Mitchell's

tudy

examined

only

the 1902 edition.

90


10/14

to

Tchang-Tsi,

and

the

Chinese characters

that can be

pronounced

as Li-Wei were

added

in the revised version of

1902.

Finally,

the

Chi-

nese

characters

were omitted

in

the

1933

ver-

sion. There are four poems attributed to

Tchang-Tsi

in the

1933

edition,

as

listed

in

fig.

3.

Although

all the four

poems

bear the

name of

Tchang-Tsi

in

the 1902

edition,

the

Chinese characters

printed

beside the name are

not the same:

those

of Au Milieu du fleuve

and

L'Epouse

vertueuse

are

read as

Chang-

Shuo,

and those of

Le Soir d'automne and

La Feuille blanche are read as Li-Wei.

The

poet of the two poems with the charactersof

Li-Wei s

indicated as

Tch6-Tsi n

the first

edition,

while

that

of

Chang-Shuo

hows

two

different

names,

Tchan-Oui and

Tchang-

Tsi.

This

suggests

that the Chinese characters

printed

in

the 1902 edition

are

unreliable,

and

the two

poems

with the

characters

read as

Li-

Wei

were written

by

a

poet

other

than

Tchang-Tsi.

On the other hand, the names of the poets

attributed

by

Gautier

in

the first edition are

closer to the

original,

as

long

as

the

two

poems

with

the Chinese characters

of

Chang-Shuo

are concerned. Here

it

is

necessary

to

under-

stand the Romanization

system

for

Chinese.

There had

been

no universal

system

before the

Pinyin system

was introduced

in

1950s,

al-

though

the

Wade-Giles

system

was a

popular

method from the late nineteenth century to

the

early

twentieth

century

in

Europe.

The

origi-

nal

poem

of

L'Epouse

vertueuse was written

by

Chang-Chi according

to the Wade-Giles

sys-

tem,

and this

spelling

is close

to

Tchang-Tsi.

The

author of Au Milieu

du

fleuve is

spelled

Chang-Wei

in

the same

system,

and it is not

very

different from

Gautier's

spelling,

Tchan-

Oui. The

correspondence

of the names in

Gautier's spelling of the first edition implies

that the

original

poet

of

Le

Soir d'automne

and La Feuille blanche was not

Tchang-

Tsi,

but the

spelling

of

the name was

probably

close to

Tch6-Tsi.

Meanwhile,

the

poet

of The Autumn

Nights

is

spelled

Ch'ien-Ch'i in

Wade-Giles

system,

but

Qian-Qi

in

Pinyin system.

The

Wade-Giles

system, however,

was not a uni-

versal

system,

as stated

earlier,

and the same

poet

is Romanized Ts'ian-Ki in a Chinese-

French

dictionary

published

in

1930.25

This

spelling

is close to

Tsien-Ki,

used in

Hervey-

Saint-Denys's

Poesies.

The

variety

of

the

Romanization

system

indicates

that Gautier

could have spelled Tch6-Tsi for Ch'ien-Ch'i.

Another

possibility, though,

is

that

Gautier

might

have

spelled

Tch6-Tsi

to indicate a

poet

other than

Ch'ien-Ch'i. But even

if

this

is

the

case,

Gautier's

misattribution

is

not a

rare case

(see

point

6).

In

any

event,

Gautier's attribu-

tion cannot be a

positive

reason

for

denying

the

link

between the

two

poems.

In

fact,

except

for

this

difference,

the two

poems

are

quite

simi-

lar, not only in the texts, but also in the title:

Gautier's

title,

The

Autumn

Night,

is

close

enough

to

Ch'ien-Ch'i's,

In

Imitation of

the

old

poem

'The Autumn

Nights

Are

Long'.

The

striking

similarities

between

these

two

poems

strongly suggest

that

Ch'ien-Ch'i's

Au-

tumn

Nights

was the

source of

Gautier's Soir

d'automne.

VON DER JUGEND AND GAUTIER'S

PAVILLON

DE PORCELAINE

In

the middle of the

little

pool

Stands a

pavilion

of

green

And

white

porcelain.

The

text of

Mahler's third

song,

Von der

Jugend,

begins

with the above

phrase.

The

pavilion of green and white porcelain returns

repeatedly

in

the

text,

and

it

emphasizes

the

Asian

flavor of the

music,

which is reinforced

by

the

pentatonic

scale

in

the

orchestra.

Al-

though

the

text can

be

easily

traced back to

Gautier's

Pavillon de

porcelaine (attributed

to

Li-Tai-Po,

spelled

Li-Tal-P6

by

Gautier),

scholars have

not been

successful

in

finding

the

original poem,

because

none

of

the

poems

by Li-Tai-Po mentions such a pavilion.26 There

are three

conceivable answers

to this

puzzle.

First,

Gautier could

have been mistaken

in

her

attribution

of

Le Pavillon de

porcelaine

to

Li-Tai-Po: this

possibility

was

suggested by

FUSAKO

HAMAO

SourceTexts

in

Lied von der Erde

2sS.

Couvreur,

Dictionaire

classique

de la

Langue

Chinois

(Paris, 1930).

26See, .g., LaGrange,GustavMahlerIII,pp. 1121-22 and

1144;

and

Yoshikawa,

On

the Sources of

Mahler's

Das

Lied

von

der

Erde,

pp.

215-16.

91


11/14

19TH

CENTURY

MUSIC

Mitchell.27

Second,

Gautier

could

have

mis-

translated

Li-Tai-Po's

poem.

Third,

the

combi-

nation is

also

possible:

both a misattribution

and a mistranslation.

When the name of the poet is not reliable,

the

external

evidence used

earlier

n

the

exami-

nation

of

Le

Soir

d'automne

is also effective

here: the

poem

must

have been included

in the

Chinese

collection

acquired

by

the

Bibliotheque

Imp6riale

before

1867.

After

a careful

examina-

tion of these

poems,

I found that

none

matches

exactly

with

Gautier's,

but there

is a

poem by

Li-Tai-Po that

is somewhat

close. The

major

differencebetween them is that the porcelain

pavilion,

the

key

image

of

Gautier's

poem,

does

not

appear

n

Li-Tai-Po's.

nstead,

the

Chi-

nese

poem

is entitled

only

A

Party

at Mr.

Tao's Pavilion.

Figures

4a

and

b

provide

the

translations

and the

originals

of

the

two

po-

ems.

Despite

lack

of

porcelain

in

the Chi-

nese

poem,

there

are

several

reasons

to

believe

that

Gautier's

poem

freely

translated

Li-Tai-

Po's Partyat Mr. Tao's Pavilion.

In the

title of Li-Tai-Po's

poem,

the first

character

means

a

party

and

the

last

two

characters

designate

a

pavilion.

The middle

characters, though-the

second

and

third--

present

a

problem.

The

second

character

de-

picts

either

porcelain

or

Tao

(a

person's

name).

The third

character

has several

mean-

ings

including

a

house

and

a

family.

Al-

though the second charactersometimes means

porcelain,

when it

is used with

the third

character,

it

is

customary

to understand

the

two

characters

as Tao's

family,

not

a

porce-

lain

house.

(Every

Chinese

character

denotes

certain concrete

and/or

abstract

meaning[s],

and

when

several characters

are used

together,

they

often

form

a

compound

word

that

indicates a

specific

meaning.)

In

short,

although

the

last

four charactersof the title are correctlytrans-

lated

as the

pavilion

of

Tao's

family

or Mr.

Tao's

pavilion,

it

is

likely

that

Gautier

misin-

terpreted

the same characters

as the

porcelain

pavilion.

Misinterpretation

of

Chinese

words

is not

unusual:

we saw the same

sort of error

in

her translation

of the

characters for

Milky

Way

as a river

in

the discussion

of

Le

Soir

d'automne in

the

previous

section.

Similarly,

as

Gautier

had

tried to

describe

the river

in

Le

Soir further

by

the

addition

of

a new sentence, here, with the appearanceof

the

porcelain

pavilion

in

the first

strophe,

she

embellished the word

by

the means of the

adjectives green

and

white,

which

do not

exist

in

the

original

text. In this

case,

the

more

vivid the

image

of the

pavilion

becomes

(be-

cause

of

the

addition of

the

adjectives),

the

less

identifiable

is

Li-Tai-Po's

poem.

At the

same

time,

the

jade bridge appearing

n

the

last sen-

tence of the first strophe must have been the

product

of

Gautier's

imagination (point 4).

In

the

fourth

strophe,

however,

we

observe

an

image

that

is

quite

similar to the third

line of

the

original,

in which the

clear

surface of

the

lake in the

garden

reflects

everything

like

a

mirror.

It

would

seem

that

in

this

poem

Gautier

largely

created

her own

piece, starting

with

the title

and the third line of

Li-Tai-Po's

poem. This is consistent with her tendency to

extract

only

a

portion

of a

relatively

long origi-

nal

poem (point

1).

Other

important

characters

appearing

in

Gautier

are the friends

who are

drinking,

talk-

ing,

and

tracing

verses in the

pavilion.

Although

the friends

do not

appear

in

Li-Tai-Po, they

appear

n a standard footnote

to

the

poem.

In

the

collection of

Li-Tai-Po's

ceuvre

acquired

by

the Bibliothbque Imp6riale before 1867, each

poem

is

amplified

with

footnotes

by

the

com-

mentator

Wang-Khi.28Expanding

the last

line

of the Mr. Tao

poem,

Wang-Khi

described

how

splendid

the

parties

at the

Kinku

Garden

were:

here

people

drank,

made

verses,

played

music.

Although

the literal

meaning

of

the

final

line

is

that

the

party

at Mr.

Tao's

pavilion

is

more

amusing

than the

parties

at the

Kinku

garden, t seems likely that Gautierused mate-

rial

in

the footnote

in her

own translation

(point

4).

And

this,

I

would

argue,

clinches

the

case:

the

similarity

between

Wang-Khi's

commen-

tary

and the

scene described

in Gautier's

poem

confirms

that A

Party

at Mr. Tao's

Pavilion

must

have been the

source for

Gautier's

poem.

27Mitchell,

Gustav

Mahler,

p.

461.

28Li hai po oen tsi tsi tchou (TheWorkof Li-Tai-Po

with

Commentaries),

ommentaries

by Wang-Khi,

reface,

dated

1759.

92


12/14

A

Party

at Mr.

Tao's

Pavilion

Li-Tai-Po

Literal

translation

of the

Chinese

poem

line 1

A

winding path

leads to Mr.

Tao's

quiet

residence.

line 2 His

house is

a

fine mansion

with

a

high gate.

line 3 The

clear surface of

the lake in the

garden

reflects

everything

like

a mirror.

line 4

The flowers

that

everyone praises

for their

beauty

bloom

in the wood.

line 5 The sun in spring is sinking into the turquoise surface

of the lake.

line 6 The sunset

glow spreads

behind

the blue

edge

of

the roof.

line 7 If one can listen to

music in this

view,

line

8 He

will amuse himself more

than at the famous

Kinku

garden.

The Porcelain Pavilion

Li-Tai-Po

Translation

of

Gautier's

Pavillon de porcelaine

In

the

middle of the little artificial lake

title

stands

a

pavilion

of

green

and white

porcelain:

like the back of

a

tiger,

a

jade bridge

arches

across

to the

pavilion.

In

the

pavilion,

finely

clothed friends

are

commentary

drinking cups

of lukewarm

wine.

They

talk

gaily,

or trace

verses,

commentary

their

caps

pushed

back,

their sleeves tucked

up.

In the

lake,

where

the little

bridge

is reflected

line

3

upside

down like

a

crescent of

jade,

the

finely

clothed friends

are

drinking

heads down

in the

porcelain pavilion.

Figure4a: Comparisonof Li-Tai-Po's Partyat Mr.Tao's Pavilion

and Gautier's

Pavillon

de

porcelaine

(trans.

mine).

Fj[

ri

k

W

M N ~ h ~

W t r e f f il t

Le

pavilion

de

porcelaine

Li-Tai-Pe

from

Judith

Gautier's

Livre de

Jade

Au milieu du

petit

lac

artificiel,

s'e lve

un

pavilion

de

porcelaine

verte

et

blanche;

on

y

arrive

par

un

pont

de

jade,

qui

se

voite comme

le dos d'un

tigre.

Dans

ce

pavilion, quelques

amis,

vitus de robes

claires,

boivent ensemble

des

tasses de

vin

tilde.

Ils

causent

gaiement,

ou tracent des

vers,

en

repoussant

leurs

chapeaux

in

arribre,

en relevant

un

peu

leurs

manches,

Et,

dnas le

lac,

oi le

petit pont,

renverse,

semble

un

croissant

de

jade,

quelques

amis,

v4tus

de robes

claires, boivent,

la tote en bas

dans un

pavilion

de

porcelaine.

Figure4b: Originaltexts of Li-Tai-Po's Partyat Mr. Tao's Pavilion

and

Gautier's

Pavillon de

porcelaine.

93

FUSAKO

HAMAO

Source Texts

in

Lied von der

Erde


13/14

19TH

CENTURY

MUSIC :T

:i:

;,:::::IV

:i:

-i-i:::::::i:.::,i::::::::r:::i?:

?X

0

Al

UNa i

- _ : : : : i - i ? ? i : : : : i ; : - :

IN

1 : : i i : :

:;:---;-

i i ~ l ~ i ? i i c ~ i a i ~ ? l i ~ i i ?

: : : : _ : ::--:-?;::::;:?::::?Al.

??4k

Plate

1: The

pavilion

built

in

L'Exposition

Universelle

in

Paris,

1867

(from

L'Exposition

Universelle

de

1867

Illustree,

p. 136).

Despite

Gautier's

misunderstanding

of the

Chinese

title,

her Le Pavillon

de

porcelaine

was favoredby Westernersand has been trans-

lated

into several

European languages,

includ-

ing Spanish

and

English.

Indeed,

a

porcelain

pavilion

was

actually

built as

an exhibit of

L'Exposition

Universelle

in

Paris, 1867,

the

same

year

Le Livre

was

published.29Hervey-

Saint-Denys

was in

charge

of the Chinese

gar-

den,

and it was said

that the

pavilion

was an

imitation of an

existing building

in

the

Sum-

mer Palace

near

Beijing.

This

pavilion

was rect-

angular,

and each

wall was made

by

porcelain

plates (see plate 1). Although it is not clear

whether such

a

porcelain pavilion

really

ex-

isted

in

China,

Gautier's version of it was

cer-

tainly

a

product

of a mistranslation.

This

charm-

ing

but

misguided image

of

China

became

es-

pecially

common after

Mahler set the text

into

music,

and it has

been

accepted

as

if

it

were

real.

Perhaps

because

the

image

of the

porce-

lain

pavilion

so

perfectly

complements

Gautier'selegantwork,no one has ever doubted

its real existence.

Nor

has

her mistranslation

been

pointed

out

by

Easterners:

many

have

been

isolated

from

the

West

and have

not had

enough

information

on how their

own

heritage

was

perceived

within

Western culture.

The

origin

of the

porcelain

pavilion,

now

clarified,

calls

our attention to the

gap

between

the real

Asian

culture and the

one constructed

in

the

West.

The recognition of this gap should be a

,

significant

task

of

musicologists

today.

V,0

29L'Exposition

Universelle

de 1867

illustree

(Paris,

1867),

p.

135.

Hervey-Saint-Denys

had worked on the

project

since

1865,

and the

pavilion

must have been

completed

by

April

1867

(the

opening

of

the

Exhibition),

a

month

before the

publication

of

Le

Livre

of Gautier.

Her letter to

Theophile

Gautier

informs that

she knew about

the Chinese

garden

before the

publication,

although

it is not known to

what

extent

(Richardson,Judith

Gautier,

p.

55).

From this chro-

nology,

one

may imagine

that the

pavilion

under the con-

structionmight have influenced hertranslationof the poem

that became Le

Pavillon

de

porcelaine.

94


14/14

SongsI

II III IVV

Mahler,

Das Lied von der Das Trinklied

vom

Der

Einsame

im Herbst Von der

Jugend

Von

der Schonheit

Erde

(1908)

Jammer

der

Erde

Bethge,

Die

chinesische

Das Trinklied

vom

Die

Einsame

im

Herbst Der

Pavilion

aus Am

Ufer

Flote

(1907)

Jamni-er

der

Erde

Porzellan

Heilmann,

Chinesische

Das

Lied

vom

Herbstabend der Der

Porzellan-Pavillon An den

Ufemrn

es

Jo-

Lyrik

(1905)

Kummer Einsamen

yeh

Gautier,

Le livre

de

Jade

Le

soir d'automne

Le

pavillon

de

(1867)

porcelaine

Hervey-Saint-Denys,

La chanson du

chargin

Sur

les bords du

Jo-yeh

Poesies

1862)

Sources

(Li-Po/Li-Bai)* (Ch'ien-Ch'i/Qian-

777

(Li-Po/Li-Bai)

&,WT

Qi?)

..a

(The

Song

of

Sorrow)

&f) ,k

(Lotus-collecting

Song)

(In

Imitation of the Old

Poem The Autumn

Nights

are

Long ?)

FUSAKO

HAMAO

Source Texts in

Lied von der Erde

Sons

IV

VI

Mahler,

Das Liedvon

Der Trunkene m

Friihling

Der Abschied

der Erde

1908)

Bethge,

Die chinesische

Der

Trinker

m

Fruihling

In

Erwartung

es Der

Abschied des

Flite (1907) Freundes Freundes

Heilmann,

Chinesische

Ein

Friihlingstag

Abend

(Mong-Kao-Jen

Abschied von

Lyrik

(1905)

erwartet

seinen

Freund

einem

Freunde

den Dichter

Ting-Kong

am

Nin-chy-Berge)

Gautier,

Le

ivre

de

Jade

(1867)

Hervey-Saint-Denys,

Un

jour

de

printemps,

e

Le

porte

attendson ami En se

separant

d'un

Poesies

1862)

porte

exprime

ses

Ting-Kong

ans

une

voyageur

sentiments au sortirde

grotte

du

Mont

Nie-chy

l'ivresse

Sources

-

?

n

Ti

(Li-Po/Li-Bai) (Mong-Kao-Jen/Meng (Wang-Wei)

tF~HP

-••,,Hao-ran)

jj

(Feelings

While Drunk on

?PRiI•9f4l-

(Farewell)

a

Spring

Day)

T TE

(Staying

in

the

Teacher'sHouse in the

Mountain and

Waiting

for a

Friend

in

Vain)

*Chinese names are

spelled using

the Wade-Giles

system/Pinyin system.

Appendix:Sourcesof the poems used in Mahler'sLied von der Erde.

95

The Sources of the Texts in Mahler's Lied Von Der Erde

Documents

Transcript of The Sources of the Texts in Mahler's Lied Von Der Erde