艾德沃滋的英译本《啸旨》及其啸史观念

范子烨

【冷门绝学研究】

艾德沃滋的英译本《啸旨》及其啸史观念

范子烨

（中国社会科学院 文学研究所，北京 100732）

《啸旨》是我国唐代的一部记载啸术的专书。20世纪上半叶，《啸旨》同时开始进入中西方学者的视野，具有现代意义的《啸旨》以及长啸研究由此拉开序幕。1938年，英国学者艾德沃滋在其书中著录了《啸旨》，1957年，她又将《啸旨》译成英文发表。对于《啸旨》的研究，艾德沃滋持续了二十年，其研究结论与相关阐释充分反映了她的啸史观念。在1937年前后，艾德沃滋主要把啸视为特殊的吟诗技巧。至1957年，她对啸的理解和解释从“吟诗说”转为“口哨说”。她对于《啸旨》的讨论和对啸的阐发不仅颇具文化之卓识，而且富有学术之力量。事实正如艾德沃滋预言之所期，长啸仍在人间，那就是北方游牧民族的呼麦艺术。而作为一部具有特殊价值的“旷世奇书”，《啸旨》是中国的，也是世界的。而在艾德沃滋的引领下，《啸旨》这部秘笈得以“西游”，东方古国神秘的长啸艺术由此被传播到西方，这也堪称为现代学术史的一个小小的奇迹。

《啸旨》； 艾德沃滋； 啸史观念； 吟诗说； 口哨说； 呼麦艺术

《啸旨》是我国唐代的一部记载啸术的专书。关于此书的作者，古人素有孙广和卢仝（795-835）二说，前者为中唐人，后者为晚唐人。唐封演《封氏闻见记》卷五“长啸”条称“永泰中，大理评事孙广著《啸旨》一篇”云云[1]44-45，此说为宋人王谠《唐语林》卷五所承袭①。永泰（765-766）是唐代宗李豫（727-779）的年号。封演是天宝十五年（756）进士。王谠是宋徽宗崇宁、大观（1102-1110）年间人。封氏的记载表明，《啸旨》的神秘性在唐代即已受到了文化界的关注。至元明清时代，《啸旨》更是文化人的枕中秘笈。明李濂《读<啸旨>有感》诗云：“岭上偶然啸，浪传鸾凤如。阿谁更多事，肬赘漫成书。”[2]乾隆《登啸台有作》诗云：“谡谡天风吹凤鸾，即遇公和相周旋。清激《啸旨》我不解，慷慨啸理我或闲。”[3]尽管接触《啸旨》者不少，但是没有证据表明，有人能够真正读懂这部秘笈，多数读者面对《啸旨》大都是一头雾水。

20世纪上半叶，《啸旨》同时开始进入中西方学者的视野，具有现代意义的《啸旨》以及长啸研究由此拉开序幕②。1938年，英国学者艾德沃滋（Edwards, Evangeline Dora，1888-1957）在其所著《公元618-906年的中国唐代散文作品叙录》（以下简称为“《叙录》”）一书中著录了《啸旨》③，1957年，她又将《啸旨》译成英文发表④。这实际上是以英文的形式逐字逐句对《啸旨》进行了细致的解读。（见图1）

图1 Edwards, Evangeline Dora，伦敦大学档案馆供图；《唐代丛书》本《啸旨》局部⑤

艾德沃滋生于1888年8月13日，她是John Edwards神父的第三个女儿。她先后就读于Camborne 的Redbrook学院、Islington学院以及爱丁堡的圣·Colm传教士学院预科。在完成全部学业之后，她旅行到中国，并就读于北平语言学校，学习汉语。两年后，即在1915年，她被任命为Mukden北方女子学院（Women's Normal College in Mukden）院长，这是一所培训汉语教师的学院。在此期间，她继续学习，并在1918年获得北平语言学校的汉语专业（普通话和古汉语）毕业证书。在“一战”末期，她回到英格兰，并在1921年接受了东方与非洲研究学校的讲师职位。结合工作与研究，她分别在1924年和1925年获得了伦敦大学汉语专业的学士学位和硕士学位。1931年，鉴于她对唐代小说的卓越研究，伦敦大学授予她文学博士学位。她被伦敦大学任命为汉语朗读教师，在这个位置上她一直工作到1939年成为汉语教授时止。在1937-1939年间，她是伦敦大学远东系的主席，并主持汉语方面的工作直到1953年。1951年，她被任命为Percival David基金会的主席，直到1955年退休。她曾经为中国社会委员会服务多年（1925-1944），并在战后访问远东、东南亚和太平洋地区，以便使军方的服务得到伦敦大学相关专业训练的支持。她的著作为数众多，如《公元618-906年的中国唐代散文作品叙录》（1937-1938），《儒者》（1940）以及题为《龙之书》和《竹子、荷花与棕榈树》（1948）的两部自选集。她还在学报上发表了大量文章，如《泰东杂志》《大不列颠远东研究学报》等等，并在1941–1955年间担任后者的编委。她不仅把M. Granet所著《古代中国的节日与歌曲》（伦敦，1932）译成英语，还与C.O. Blagden教授合作出版了《马来西亚半岛的汉语词汇和短语》（6卷中的3卷，BSOS，1931）和《占族的汉语词汇和短语》（10卷中的1卷，BSOS，1939）两部书⑥。

对于《啸旨》的研究，艾德沃滋持续了二十年。其研究结论与相关阐释充分反映了她的啸史观念，而审视她的观念，对于啸史研究无疑是有积极意义的。她在《叙录》中指出：

这是一部关于吟诵诗歌的专著，全书凡十五章，包括序跋。这本神奇的小书肯定是关于语言发音的最早专著，很少有人知道它的存在。序中提到了西王母和其他神话人物，但书中绝大部分可能讨论的是在吟诗方面特殊发音的纯正规则。书后明人都穆的跋写于公元1520年。他说自己在这部书中读到了孙登和阮籍的故事，因而去探访位于洛阳附近的苏门山，结果无功而返。

在这里，她把啸翻译为吟诵或者吟诗（chanting，chanting poetry），并且把《啸旨》界定为“一部关于吟诵诗歌的专著”，“是关于语言发音的最早专著”，书中“可能讨论的是在吟诗方面特殊发音的纯正规则”。此外，在《叙录》一书中，她还初步翻译了《啸旨序》以及书中记载的“外激”（Outer Expulsion）、“内激”（Inner Expulsion）与“含”（Holding in the mouth）等三种啸法。她在注释中也谈到了自己对于“啸”这个语词的理解：

啸这个词实际的意思是吹口哨、喊叫、吼叫以及释放气息。它是对虎啸的应答，也是一种龙吟之声。但是，并没有任何一部辞典给出“啸旨”这个题目的确切含义。然而，当一位诗人孤独地徘徊在竹林中时，他向天空抬起自己的脸，吟咏自己或者别人的作品，这通常被称为“仰天啸诗”，即仰望苍天而吟诗。这种吟咏与我们通常理解的西方的吟诗有很大差异，我们必须关注这一点。

可见在1937年前后，艾德沃滋主要把啸视为特殊的吟诗技巧。晋人之啸与吟诗确实有关系，所谓“啸咏”“吟啸”，皆是以啸法吟诗，但啸作为一种特殊的发声方式以及由此形成的特殊的声乐艺术（参见下文），并不是吟诗[4]。至1957年，她对啸的理解和解释有明显的变化，主要是从“吟诗说”转为“口哨说”，她把啸译为口哨或者吹口哨（whistle，Whistling）。当然她也承续了早期关于《啸旨》为“语音学著作”（phonetics work）的说法。她在英译《啸旨》序中指出：

音乐源于自然，这是为中国人所认知的基本事实。音乐可能是有意识的产物（如人声），也可能是无意识的产物（如动物声、暴风雨声等等）。就人类嗓音和声的极限而言，发声之模拟是先于乐器而出现的。言语在人与人、大脑与大脑之间传播，音乐则在人与自然、诸神和精灵之间传播。经过整合而被纳入若干系统的古代音乐并不比自然之声更为丰富。正如我们在这部书中所见到的那样，人类在发声方面对自然的模拟确实要早于器乐。学啸者为数众多，代代相承，而“舜演之为琴”。唐代段安节所著《乐府杂录》指出，“听伎，丝不如竹（芦苇制作的乐器），竹不如肉（人的喉咙）。”人的喉咙比任何乐器都更高级。正如《啸旨》所言，“笙像凤啸，笛像龙吟，凡音之发皆有像。故虎啸龙吟之类，亦音声之流”。尽管我们当下对古代音乐之史实所知甚少，但是其在东方的影响主要是作为国家礼乐而被认知的，音乐在中国几乎无处不在，由此而显得更为重要。而声音的神秘起源以及音乐源于自然的发展史，乃是唐人所撰《啸旨》一书极力彰显的主题，这一主题令人好奇令人着迷，而这部书幸存于世，则弥足珍贵。关于《啸旨》的渊源有两种理论。第一种理论是说在六朝时代有一些带着儒家思想的人试图遁世，他们进入山中，恣意而为，无所顾忌，而长啸就是其日常行为之一，这些人遭到了礼法之士的蔑视。第二种是道教理论，其对长啸的支撑作用可能更大，所以道教著作屡屡提及之。道徒们认为呼吸“自然的呼吸”是获得不朽的一条重要途径，至于承担不朽之累则又另当别论。通过长啸他们与自然相呼应，并因此而臻于仙境。这种观点通过《晋书》得以强化，如书中说阮籍“尤好庄老，嗜酒能啸，善弹琴”。《啸旨》首见于由160种图书组成的《唐代丛书》，对这部书的编纂者的具体情况我们还不太清楚。有关《啸旨》问世的证据主要见于《封氏闻见记》卷五“长啸”条，书中称“永泰中，大理寺评事孙广著《啸旨》一篇”。“啸”在汉语辞典中有如下意义：“嘶嘶的哨音，尖叫声和吹口哨。”（这个字也读作“肃”，意为“呻吟、悲叹”）这部关于“如何长啸”的著作，声称“出其啸善，万灵受职”。而按照我的看法，这是一部早期的语音学著作。它告诉人们如何发出确定的声音，当其发出时又如何来加以检查。尽管我试图根据这些原则发出啸声，但还是不能取得成功；随后我又假设它是一种由道教徒实践的部分规则，如《啸旨》所言，“考系于寂寞之间而后发”。《啸旨》原书的作者姓名在其通行的版本中并未被明确地给出。而据其陈述，我们可以断定它出自唐人之手，但并无更多的证据可以确认这一点。这确实是一部旷世奇书。序言称“西王母授南极真人，南极真人授广成子”，对这种侈谈我们不必接受。但书中记述的由孙登和阮籍确立的十二种啸法，我们由此可以了解其一般的意义。序言说“晋太行仙人孙公以能啸得道，而无所授，阮嗣宗所得少分，其后不复闻矣”。我曾因到洛阳做事之便探访当年孙登和阮籍出没的苏门山，但是我认为听到凤鸣之声纯属子虚乌有，更为遗憾的是我对此并不赞赏。人声即宇宙（自然）之声。人有古今之分，但是声音永远没有新旧之别。现在，这部书已经成为故纸，究竟孙登和阮籍是否可能出现在崇山峻岭和茫茫林海之中？又有谁能够确切断言长啸是否已经终结？

以上她对于《啸旨》的讨论和对啸的阐发不仅颇具文化之卓识，而且富有学术之力量：第一，“言语在人与人、大脑与大脑之间传播，音乐则在人与自然、诸神和精灵之间传播”，这意味着人类的音乐生成于一个信仰诸神的世界，所言极为深刻；第二，她说“人类在发声方面对自然的模拟确实要早于器乐”，“人的喉咙比任何乐器都更为高级”，《啸旨》正是彰显了长啸这种人类之声的初音意义；第三，她认为“声音的神秘起源以及音乐源于自然的发展史，乃是唐人所撰《啸旨》一书极力彰显的的主题”，而这也正是这部书的真正价值之所在；第四，她认为长啸既是魏晋风度的声音形态的艺术显现，也是道教徒的一种具有养生功能的声音法术；第五，“人有古今之分，但是声音永远没有新旧之别”，因此，她并不排除长啸仍然在人间世界的某个区域流传的可能。这些观点不仅深刻，而且富有远见。由此可见，艾德沃滋已经明确感受到啸属于音乐艺术的范畴这一基本事实，只是由于专业层面的音乐知识的欠缺以及音乐文化视野的局限使她无法完成相关的论证而已。今日看来，艾德沃滋的英译《啸旨》也并不完全准确，她的译文甚至存在许多硬伤，譬如，她把“琴”统一翻译为“Lute”，即鲁特琴。鲁特琴又称琉特琴，作为一种曲颈拨弦乐器，它是文艺复兴时期风靡欧洲的贵族家庭独奏乐器。而现代乐器学把类似的乐器统称为“琉特属”，如吉他、琵琶、阮和月琴等等都可以包括在内。换言之，“Lute”属于鲁特类抱弹乐器，而我国传统的琴属于齐特类卧弹乐器，翻译成“zither”比较准确，当然，采取音译（Qin）更为理想。

事实上，正如我国固有的阐释传统一样[5]，“啸为口哨说”在西方汉学界也一直占据主流的地位。艾德沃滋当为确立此说的第一人。在她的影响下，人们通常将“啸”译为“whistling”（口哨，名词）或“whistle”（吹口哨，动词）。如王维《竹里馆》诗“弹琴复长啸”一句，美国汉学祖师卜弼德（Peter A.Boodberg）译为“To thrum the lute，once more to long while whistling”，“long while whistling”即相当于“长啸”⑦。王维《偶然作》六首之三“孙登长啸台”一句，宇文所安（Stephen Owen）译为“The site of Sun Teng’s Whistling Terrace”⑧；陈子昂《入峭峡安居溪伐木溪源幽邃林岭相映有奇致焉》“ 啸徒歌伐木”一句，宇文所安译为“I whistled to companions，sang ‘Chopping Wood’”⑨；陶渊明《咏二疎》“高啸返旧居”一句，海陶玮（James R.Hightower）译为“With a high-pitched whistle they went back home”⑩；侯思孟（Donald Holzman）更是直言不讳地说：“As a last recourse he tries Hsiao 啸，which I have translated as ‘Whistling’。”⑪《文选》卷十八成公绥《啸赋》，对这首赋的篇名，维梅恒（Victor Mair）和康达维（David R.Knechtges）均译为“”⑫。

长啸艺术以卷舌为核心的发声原理，乃是艾德沃滋视而不见的问题。如《啸旨》所载“外激”之法“以舌约其上齿之里”，她译为：“Place the tongue in close contact with the inside of the upper teeth.”卷舌乃是《啸旨》所载“十法”的根本大法，乃是长啸艺术的关键所在。但是，卷舌时不仅不能吹口哨，而且不能唱歌，甚至不能说话。如清钮琇《觚剩续编》卷三“哑樵”条写一个樵夫发现一条大蛇藏在山洞中，回家后“遂不能言”，三年后“复过前遇蛇处”，“有龙从洞中出”，此时他忽然又恢复了说话的能力。樵夫言：“向我卷舌不能出声者，正此物为之也！”[6]对人而言，“卷舌”便“不能出声”，这是一个常识。但是，唯一的例外就是浩林·潮尔（俗称呼麦）艺术。如论者所言，“呼麦是人体发音体的相对性艺术”，“利用舌把气流分开，所谓分气法的喉音艺术”，“呼麦的唱法是，先发出主音上的持续低音，接着便同时在其上方唱出一个音色透明的大调性旋律，最后结束在主音上。全曲是一口气唱完的。气流冲击声带发出低音声部，同时气息在口腔内被一分为二。”[7]舌头正是这种将气息一分为二的工具，即用舌头制造一个封闭的共鸣咽腔，在气流对声带的冲击下，喉头不断震动，发出持续的喉音，由此创造一种神奇的复音声乐。图2是蔡振家博士从物理学和发声学的角度对呼麦唱法进行科学测试所获得的图像[8]。由此可见，对呼麦艺术而言，卷舌既是发声的基本技法，也是为喉音艺术构建共鸣腔的基本方式。

呼麦是喉音的艺术。只有从呼麦艺术的角度出发，才能够正确解读《啸旨》。《啸旨》乃是一部关于人类喉音艺术（呼麦）或者说泛音歌唱艺术的教科书，书中记载的十种啸法和十五章啸具有重大的音乐史和文化史价值。事实正如艾德沃滋预言之所期，长啸仍在人间，那就是北方游牧民族的呼麦艺术⑬。而作为一部具有特殊价值的“旷世奇书”，《啸旨》是中国的，也是世界的。而在艾德沃滋的引领下，《啸旨》这部秘笈得以“西游”，东方古国神秘的长啸艺术由此被传播到西方，这也堪称为现代学术史的一个小小的奇迹。希望本文足以告慰艾德沃滋教授那心系东方古国文化的英灵。

图2 舌头卷起，在前端造出共鸣腔

①《唐语林》，上海古籍出版社1978年版，第190-191页。《啸旨》作者为卢仝（号玉川子）之说，首见于宋王尧臣（1003-1058）的《崇文总目》，不知王氏何据。见清周中孚《郑堂读书记》补逸卷二十三《子部·艺术类·杂技》，黄曙辉、印晓峰标校，上海书店出版社2009年版，第1651页。封演、王谠的著作已经详引《啸旨》的内容，故《啸旨》的作者当以孙广为正。

②参见赵荫棠（1893-1970）《啸歌之兴替与音理的解释》，《中央日报》，民国二十六年（1937）1月31日（星期日）第3张第3版《文史》副刊；后收入赵憩之《等韵源流》，台湾文史哲出版社1985年版，第35-41页。这是以《啸旨》为核心的第一篇啸史研究专论。

③，London，1938，Vol.1，，pp178-180。

④E．D．Edwards，“：，”20，1957。

⑤《唐代丛书》三集，清嘉庆十一年（1806年）刊本，陈莲塘辑。中国社会科学院图书馆藏本。

⑥关于E．D．Edwards教授的生平资料，承蒙Michel Hockx（贺麦晓）教授（Department of the Languages and Cultures of China and Inner Asia, University of London）和伦敦大学档案馆提供，特此致谢。2013夏，我与麦晓教授在首都师范大学巧遇，遂得尽知E．D．Edwards其人之情况。

⑦（《爱文庐札记小跋》，with Postscript by S.H.Chen），Cedules Reprinted 1969，7，Selected Works of Peter A.Boodberg，Compiled by Alvin P.Cohen，p.181-182，University of California Press，Berkeley，Los Angeles and London，1979。

⑧，，Part One:，，pp.40，New Haven and London,Yale University Press，1981。

⑨， pp.170，New Haven and London,Yale University Press，1977。

⑩James R.Hightower，，James R.Hightower and Florence Chia-Ying Yeh，，Published by the Harvard University Press Cambridge，Massachusetts，and London，1998。

⑪Donald Holzman，，8，pp.151，Cambridge University Press,1976。

⑫by Cheng Gongsui，translated by Victor Mair，Victor Mair ed. ，，p.429-434，New York: Columbia UP，1994；by Cheng Gongsui，translated by David R.Knechtges，，Volume III,p.315-323，Princeton: Princeton University Press，1996。

⑬参见拙文《论长啸艺术与西北游牧民族之关系——以刘琨之啸为中心》，《中国文化》2012年秋季号，总第36期；以及拙文《从文献到图像：对阮籍之啸的还原阐释》，《中国文化》2020年秋季号，总第52期。

[1] 赵贞信，校注．封氏闻见记校注[M]．北京：中华书局，1958．

[2] 李濂．嵩渚文集：卷三十一[M]．明嘉靖刻本．

[3] 乾隆．御制诗集二集：卷二十一[M]．文渊阁四库全书本．

[4] 范子烨．才绝与痴绝：晋人吟咏艺术发微[J]．学术交流，2019（5）．

[5]范子烨．“啸”：东方古国的口哨音乐[J]．中国文化，1995（2）．

[6] 钮琇．觚剩续编[M]．清康熙三十九年临野堂刻本．

[7] 郭云鹤．试论呼麦及其演唱方法[D]．北京：中央民族大学，2007．

[8] 蔡振家．泛音唱法的物理基础[EB/OL]．http://www.sciam.com/1999/0999issue/0999levinbox6.html．

啸史秘笈——《啸旨》校理

范子烨

《丛书集成初编》本作为《啸旨》最早的校理本，保存了明顾元庆所藏宋元旧本、夷白斋重镌本、《顾氏文房》本以及明周履靖《夷门广牍》本的全部信息。尽管其工作十分粗糙，却有筚路蓝缕之功。1957年，英国著名汉学家艾德沃滋（E．D．Edwards）教授依据初校本将《啸旨》译为英文发表。此外，《啸旨》还有元陶宗仪《说郛》本，明程明善所辑《玉川子啸旨》本，清陈梦雷《古今图书集成》本和清陈莲塘所辑《唐代丛书》本。前三种本子是艾德沃滋未曾涉及的，其中的程本最为重要。这里我们以初校本为基础，在保存其原貌的前提下，取以上四本重校《啸旨》，同时迻录艾德沃滋之英译原文，使读者可以获得一份关于《啸旨》这部奇书的一份完整资料，并由此加深对长啸这一“绝学”的理解。

唐人孙广《啸旨》一书的现代版本，首见于《丛书集成初编》（1935-1937年商务印书馆出版，1985年中华书局再版，第1680册，第1-15页），扉页题“撰人不详”。此书前有题记云：“《丛书集成初编》所选阳山《顾氏文房》及《夷门广牍》皆收有此书，顾氏依夷白斋旧本重镌，原出宋元旧本，款式古雅，故据以排印，并注《夷门》本异文于各句之下。”因此，《丛书集成初编》本作为《啸旨》最早的校理本（以下简称为“初校本”），保存了明顾元庆所藏宋元旧本、夷白斋重镌本、《顾氏文房》本以及明周履靖《夷门广牍》本的全部信息。尽管其工作十分粗糙（如参校本不全，有断句而无标点），却有筚路蓝缕之功，故台湾新文丰出版公司删除《啸旨》前的这一题记实为不妥（《丛书集成新编》，第54册，台北，1985年版）。1957年，英国著名汉学家艾德沃滋（E．D．Edwards）教授依据初校本将《啸旨》译为英文发表（E．D．Edwards，“：，”20，1957。在正文中，艾德沃滋将《啸旨》译为“”，为便于阅读，同时根据当代的学术规范，笔者将原文中的威尔士拼音一律改为现代汉语拼音），对书中标志的《夷门广牍》的异文情况，她时有参考，或在译文中补充文本，或在校注中加以说明，表现出严谨的治学态度。此外，《啸旨》还有元陶宗仪（1321-1407）《说郛》本（宛委山堂本，以下简称为“陶本”。《说郛三种》，第七册，上海古籍出版社1988年版，第4595-4600页），明程明善（万历时人）所辑《玉川子啸旨》本（以下简称为“程本”。《啸馀谱》，明程明善辑，《续修四库全书》，第1736册，上海古籍出版社2002年版，第9-12页），清陈梦雷（1650-1741）《古今图书集成》本（以下简称为“陈本”。《古今图书集成·经济汇编·乐律典》，第七十三卷，第74册，中华书局、巴蜀书社1985年版，第89757-89759页。该本题曰“唐孙广《啸旨》”）和清陈莲塘所辑《唐代丛书》本（清嘉庆十一年刊本，以下简称为“唐本”）。前三种本子是艾德沃滋未曾涉及的，其中的程本最为重要。这里我们以初校本为基础，在保存其原貌的前提下，取以上四本（陶本、程本、陈本和唐本）重校《啸旨》，同时迻录艾德沃滋之英译原文（为便于阅读，译文中的威尔士拼音一律改为现代汉语拼音），使读者可以获得一份关于《啸旨》这部奇书的一份完整资料，并由此加深对长啸这一“绝学”的理解。

《丛书集成初编》本《啸旨》的附录有明都穆（1458-1525）《跋》，《啸旨目录》，明唐寅（1470-1524）《啸旨后序》，晋成公绥（231-271）《啸赋》以及明郎瑛（1487-1566）的《啸旨辨》（所谓《啸旨辨》，实际是明郎瑛《七修类稿》卷二十七“啸”条的文字，明刻本），艾德沃滋虽然只翻译了都穆的《跋》，也值得珍视，所以我们在这里亦存其旧貌。

本文校记依照初校本原段落设置，首先将初校本原有之校语从正文中剥离出来，由随文校改为文下校，次列陶本、程本、陈本和唐本之异同情况，采用小五号字，校记后为艾德沃滋之译文。

啸旨

序

夫气激于喉而浊，谓之言；激于舌而清，谓之啸。言之浊，可以通人事，达性情；啸之清，可以感鬼神，致不死。盖出其言善，千里应之；出其啸善，万灵受职。斯古之学道者哉①！君授王母②，王母授南极真人③，真人授广成子，广成子授风后，风后授啸父，啸父授务光，务光授尧，尧授舜。舜演之为琴与禹④。自后乃废。续有晋太行山仙君孙公获之，乃得道而去，无所授焉。阮嗣宗得少分，其后湮灭，不复闻矣⑤。

啸有十五章句，权舆正毕有十二法⑥：“外激”，“内激”，“含”，“藏”，“散”， “越”，“大沉”，“小沉”，“疋”，“叱”，“五太”，“五少”⑦，皆在十五章之内，则啸之妙音尽矣⑧。

[校记]

①“斯古”句，程本作：“故古之学道者每深致意焉。”

② “君授”句，“君”字前，陈本有“老”字。原校：缺一字。陶本、唐本均有此校语，唐本作“缺字一”。又原校：案《夷门》本有“老”’字。是。

③此句陶本“母”上无“王”字，非。

④ “舜演”句，“琴”字，陈本同，是，原校：案《夷门》本作“瑟”字。非。

⑤ “君授王母……不复闻矣”诸句，程本无。“续有”句，“晋”，唐本讹作“吉”。

⑥ “啸有”二句，陶本、陈本同，程本作“啸有十五章，有十二法”。

⑦“外激”上，原校：案《夷门》有“一曰”二字；“内激”上，原校：案《夷门》有“二曰”二字；“含”上，原校：案《夷门》有“三曰”二字；“藏”上，原校：案《夷门》有“四曰”二字；“散”上，原校：案《夷门》有“五曰”二字；“越”上，原校：案《夷门》有“六曰”二字；“大沉”上，原校：案《夷门》有“七曰”二字；“小沉”上，原校：案《夷门》有“八曰”二字；“疋”上，原校：案《夷门》有“九曰”二字；“叱”上，原校：案《夷门》有“十曰”二字；“五太”上，原校：案《夷门》有“十一曰”三字；“五少”上，原校：案《夷门》有“十二曰”三字。陶本、陈本和唐本无“一曰……十二曰”。

⑧“则啸”句，“音”，陶本、陈本同，程本作“旨”。

本序“续有”句，“晋”，唐本讹作“吉”。又《太平御览》卷第三百九十二《人事部》三十三引《啸旨》三段，录以备考：

啸者，其气激于喉中而浊谓之言，激于舌端而清谓之啸。言之浊，可以通人事、达情性；啸之清，可以感鬼神、致不死。出其言善，千里应之；出其啸清，万灵授职。故古之学道者重矣。

太上道君授于西王母，西王母授于南极真人，南极真人授于广成子，广成子授于啸父，啸父授于务光，务光授于舜，舜演之为琴以授禹，自后而废。续有晋太行山仙君孙公得之，乃得道，而无所授焉。阮嗣宗所得少分，其后堙灭，不复闻矣。

啸有一十五章：一曰《权舆》，啸之始也；二曰《流云》，乃古之善啸者听韩娥之声而写之；三曰《深溪虎》，古之善啸者听溪中虎声而写之；四曰《高柳蝉》，古之善啸者听而写之；五曰《空林夜鬼》，古之善啸者夜过空林闻而写之；六曰《巫峡猿》，古之善啸者闻而写之；七曰《下鸿鹄》，出于师旷，演清角之音，善啸者写之；八曰《古木鸢》，九曰《龙吟》，皆啸者闻而写之；十曰《动地》，出于孙公，其音亦师旷清徵也；十一曰《苏门》，孙公隐苏门山之作也；十二曰《刘公命鬼》，仙人刘根之所为也；十三曰《阮氏逸韵》，阮籍所作也；十四曰《正章》，深远极大，非常声也；十五曰《毕音》，五音之极而大道毕矣。（《太平御览》第二册，中华书局1960年影印，第1814页。）

Preface

Air forced outwards from the throat and low in key is termed speech; forced outwards from the tongue and high in key is termed Xiao（whistle）.The low key of speech is sufficient for the conduct of human affairs, for the expression of our nature feelings; the high key of whistling can move supernatural beings and is everlasting. Indeed, though a good speaker can win response from a thousand li, a good whistler commands the attention of the whole world of spirits.

The learners of the art are as follows:

（Lao）Jun transmitted it to the （Western） Royal Mother, she to the Fairy of the South Polar Star; he to Guang Cheng Zi, he to Feng Hou, and he to Xiao Fu. Xiao Fu taught it to Wu Guang, he to Yao, and Yao to Shun.

Shun developed music, and invented the lute. This passed to yu, after whom the art declined. It revived with the Immortal of the Chin Dynasty, Sun Gong of the Tai Hang Shan. Sun Gong found the Way（adopted the Taoist rule of life）and disappeared. No one was taught the art by him. Ruan Sizong had a smattering of the art after him it was quite lost, and whistling was no longer heard.

Whistling is dealt with in fifteen chapters, starting from the “First Principles”, and ending with the “Conclusion”. These give twelve methods, viz.:

（The first is called）Wai Ji

（The second is called）Nei Ji

（The third is called）Han

（The fourth is called）Cang

（The fifth is called）San

（The sixth is called）Yue

（The seventh is called）Da Chen

（The eighth is called）Xiao Chen

（The ninth is called）Pi

（The tenth is called）Chi

（The eleventh is called）Wu Tai

（The twelfth is called）Wu Shao

All these will be dealt with in the fifteen chapters, where in the beauties of Whistling are fully treated.

权舆章第一

夫权舆者，啸之始也。夫人精神内定，心目外息，我且不竞，物无害者①，身常足，心常乐，常定②，然后可以议权舆之门。天气正，地气和，风云朗畅，日月调顺，然后丧其神，亡其身，玉液旁润，灵泉外洒。调畅其出入息③，端正其唇齿之位，安其颊辅，和其舌端，考击于寂寞之间而后发④。折撮五太之精华⑤，高下自恣，无始无卒者，《权舆》之音⑥。近而论之，犹众音之发调，令听者审其一音也。耳有所主，心有所击⑦，于情性和⑧，于心神当，然后入之⑨。

【外激】以舌约其上齿之里，大开两胥而激其气⑩，令出入⑪，谓之外激也。

【内激】用舌以前法⑫，闭两唇，于一角小如麦芒，通其气，令声在内，谓之内激也。

【含】用舌如上法，两唇但起，如言殊字而激其气，令声含而不散矣⑬。

【藏】用舌如上法，正其颊辅，端其唇吻，无所动用，而有潜发于内也。

【散】以舌约其上齿之内，宽如两椒，大开两唇而激其气，必散于为散也⑭。

【越】用舌如上法，每一声以舌约其上颚，令断气绝，用口，如言失字，谓之越也。

【大沉】用舌如外激法，用气，令自高而低，大张其喉，令口中含之。大物含气，煌煌而雄者，谓之大沉也。

【小沉】用舌如上法，小遏其气，令扬⑮。大小沉属阴，《命鬼》《吟龙》多用之。

【疋】用舌如上法，如言“疋”字，高低随其宜。

【叱】用舌如上法，如言“叱”字，高低随其宜。

【五太】者，五色也。宫商徵羽角所为之⑯，五大八九⑰，五少为应，故为之大⑱，以配仁义礼智信。此有看之本⑲，谓声者皆不逃五太⑳，但以宫商发应，君使次序㉑，理则声理，乱则声乱㉒。

【五少】者，五太之应。五太自有阴阳，然太权而言㉓，五太为阳，五少为阴。用声之至，详而后发㉔。凡十二法，象一岁十二月：内激为黄钟，外激为应钟，太沉为太簇㉕，小沉为夹钟，五太为姑洗，五少为仲吕，散为蕤宾，越为林钟，疋为夷则，叱为南吕，含为无射，藏为大吕，律吕相生而成又㉖。此则十法二之首也㉗。

[校记]

①此句，陈本同，程本作“物亦无害”。

②此句陶本、陈本、唐本同，“常”字上，原校：案《夷门》本有“神”字。是。

③此句陶本同，“息”字上，原校：案《夷门》本有“之”字。陈本同。

④此句“击”下，原校：案《夷门》本作“系”。陶本、程本、陈本、唐本作“击”，非。

⑤此句“折”字，陶本、程本、陈本、唐本同，原校：案《夷门》本作“析”。非。

⑥此句“音”字下，程本有“备矣”二字，是。

⑦此句“击”字，陶本、程本、陈本同，原校：案《夷门》本作“系”。唐本同，是。

⑧此句“情性”，陶本同。原校：案《夷门》本作“性情”。陈本同，是。

⑨此句“入”字，陶本作“人”，误。

⑩此句“胥”字，陶本同。原校：案《夷门》本作“唇”。陈本同。是。

⑪此句陶本、陈本、唐本作“令其出”。

⑫此句“以”字，陶本、陈本同，程本作“如”。

⑬此句“矣”字，陈本作“也”。

⑭“于”字，陶本同，陈本作“故”，原校：案《夷门》本作“之”。此句程本作“以散之所为散也”。

⑮此句陶本、陈本同，程本作“勿令扬”，是。

⑯此句陶本、陈本、唐本作“宫商角徵羽”，“宫”字上程本有“以”字。

⑰“大”字，陶本同，原校：案《夷门》本作“太”。“八九”系衍文，各本同。

⑱此句“大”，程本、陈本作“太”，是。

⑲此句“看”，陶本、唐本同，程本、陈本作“音”，是。

⑳此句“谓”，陶本、陈本同，程本作“为”；“不”下，程本有“能”字；“逃”下，程本有“此”字。

㉑“但以”二句，陶本、陈本同，程本作“但以宫商发声，以角徵羽应之，必使次序不失”，是。

㉒此句“乱”字，陶本、陈本同，程本于该字下有“矣”字。

㉓此句“太权”，陶本、唐本同，原校：案《夷门》本作“推本”。是。此句程本作“然以大概而言”。

㉔“用声”二句，陶本同，程本作“若以五少论之，十二律用声之道，详而后发”。

㉕此句“太沉”，陶本同，陈本作“大沉”，是。

㉖此句“又”，程本、陈本作“文”，是。

㉗此句“法二”，陶本同，陈本作“二法”，原校：案应作“二法”。是。

本章“亡其身”句，“其”，唐本讹作“中”；“《权舆》之音”句，“权”，唐本讹作“全”；“必散”句，“于”，唐本讹作“放”；“大小沉属阴”句，“小”，唐本讹作“一”；“《命鬼》《吟龙》多用之”句，“鬼”，唐本讹作“见”。

No.1.

Now the First Principles are the beginning of Whistling. When a man’s psyche is in a state of abstraction, his moral vision undistorted, when his ego is undisturbed and free from emulation, when externals leave him unmoved, when his heart always pleases（the spirits）, when his moral nature is in harmony and steady, then he may presume to discuss first principles.

When the atmosphere is perfectly normal and the earth currents balanced, when the sky is clear overhead and the sun and moon are in favourable conjunction, then one may mortify the spirit and nullity the body. The vivifying elixir will still diffuse, and the magic fountain gush.

Then, regulate the respiration, correct the relative positions of lips and teeth, compose the sides of the mouth, relax the tongue, practise in some retired spot. After（such preparations）one may perform.

Select the purest of the Wu Tai; let high and low notes follow in natural cadence without abrupt changes. These are the notes of the first principles.

Proceeding to discussion, certainly the production of any one note compels a listener to dwell upon that note. When the ear has mastered it, when the mind has absorbed it, when it has entered into harmony with one’s inner nature and become suited to one’s intelligence, then one really understands.

1.Wai Ji. Place the tongue in close contact with the inside of the upper teeth. Open wide both lips and force the breath outwards, letting the sound go out. This is called Wai Ji.

2.Nei Ji. Place the tongue as before; close both lips, compressing them to a point, like the opening of a stalk of wheat. Pass the breath through, making the sound go inwards. This is called Nei Ji.

3.Han. Tongue as in the above methods, but protrude the lips, as if pronouncing Shu, with forced breath. Hold the sound in, and do not let it diffuse.

4.Cang. Tongue as before; normalize the cheeks; straighten the corners of the mouth, maintaining them in this position and draw inwards as if trying to secrete it（the air）within.

5.San. Tongue nearly in contact with the inside of the upper teeth, separated by the width of two peppers. Open wide both lips and expel the breath. It must be diffused freely to produce the San result. This is called San.

6.Yue. Tongue as before. At each note, bring the tongue into contact with the roof of the mouth, producing short blasts, the mouth as in pronouncing‘Chi’. This is called Yue.

7.Da Chen. Tongue as before（in Wai Ji）.Breathe so as to make the sound fall from high to low, opening the throat the while; keep the sound in the mouth as if holding a large object between the lips; utter loudly and boldly. This is called Da Chen.

8.Xiao Chen. Tongue as in previous method. Check the breath slightly and let the sound increase. Both Da Chen and Xiao Chen are Yin sounds and are used by screaming demons and droning dragons.

9.Pi. Tongue as above; as in enunciating “Pi”; high or low as felt to be suitable.

10.Chi. Tongue as above; as if enunciating “Chi”; high or low as suitable.

11.Wu Tai. The five “Tai” are five varieties, viz.:

Gong

Shang

Zhi

Yu

Jue

Most of the Wu Tai have correspondences in the Wu Shao. They are called “Tai” to match with the five virtues¾Ren仁，Yi义，Li礼，Zhi智，Xin信；that is to say, they are the backbone of the notes, the fundamentals. Those who talk of notes cannot get away form these, but accept Gong and Shang as key notes, bases of the scale. If these are correct and properly ordered, then the notes are true; if they are irregular, so are the notes of the scale.

12.The Wu Shao are correspondences of the Wu Tai. The Wu Tai must belong to the groups Yin and Yang（some to each）.Yet, investigating the first principles, one says that the Wu Tai are Yang and the Wu Shao are Yin. When producing a sound the method of producing it must be examined with care. All the twelve methods are like the twelve months of the year.

Nei Ji corresponds to Huang Zhong, and Wai Ji to Ying Zhong; Ta Chen corresponds to Tai Cu, Xia Chen corresponds to Jia Zhong; Wu Tai to Gu Xi, and Wu Shao to Zhong Lv; San to Rui Bin; Yue to Lin Zhong; Pi to Yi Ze; Chi to Nan Lv; Han to Wu Ye, and Cang to Da Lv. The （twelve）semi-tones represented by the pitch-pipes bring forth each other and are perfected.

流云章第二

流云，古之善啸者，听韩娥之声而写之也①。淫润流转，妙中宫声，沉浮起伏，若龙游戏春泉，直上万仞②，声遏流云，故曰流云。此当林塘春照，晚日和风，特宜为之。始于内激，次散，自含、越、小沉③，成于疋、叱，且吾少则《流云》之旨备矣④。其音有定，所之若龙若虎⑤，若蝉若鬼。一发之后，更无难挠。亦由易之有可适，亦谓云：凡十二啸之变态极矣⑥。夫琴象南风，笙象凤啸，笛象龙吟，凡音之发皆有象⑦。故虎啸龙吟之类，亦音声之流。今所序故于后⑧。

[校记]

①此句“写”，程本作“宫”，误。

②此句“万”字上，程本有“九”字，系衍文。

③此句“自”，陶本同，此字下，原校：案《夷门》本作“而”。

④“且吾”二字，陶本、程本同，陈本作“具五”，原校：案《夷门》本作“具五”。是。

⑤此二句，程本作：“其音无有定所，若龙若虎。”

⑥“亦由”二句，程本作：“通此《流云》，则十二啸之变态极矣。”“其音有定……变态极矣”诸句，陈本作“其音若龙若虎，若蝉若鬼，凡十二啸之变态极矣”。

⑦此句“象”字上，程本有一“所”字。

⑧此句陶本、程本、唐本同，陈本作“今序于后”。

本章“听韩”句，“而写之”，唐本讹作“王一”；“其音”句，“音”，唐本讹作“皆”。

No.2.

Fleeting Cloud was heard by one who in ancient days was good at whistling and, hearing the voice of Han O, wrote in down. Sensuous and haunting, it is most beautiful when it is in harmony with the Gong tune. It sinks and floats, rises and disappears, and may be compared with dragon sporting in a spring fountain. Rising to dizzy heights, the note checks the fleeting clouds; hence the name “Fleeting Cloud”. It recalls forest pools in spring dawn or gentle breezes at sunset.

The（specially） proper way to do it is to open with Nei Ji（2）,continue to San（5） and Han（3）,Yue（6）,and Xiao Chen（8）,ending on Pi（9） and Chi（10）, continuing to Wu Shao（12）.

Such is the general outline of “Fleeting Cloud”.

The notes bear a certain fixed character; the sounds tell of a dragon or a tiger or a cicada or a demon. Once performed, it is easy to repeat. Moreover, every air is followed by variations; in fact, it is said that there are a round dozen variations, all very superior.

The lute suits southern manners; the reed-organ suits the cry of the phoenix; the fife suits the dragon’s drone. Every musical sound has its counterpart （in nature）.So, the roar of the tiger and the drone of a dragon all have a proper sequence of notes.

What is here prefaced is dealt with later.

深谿虎章第三

深谿虎者，古之善啸者，听谿中虎声而写之也。雄之馀，怒之末，中商之初，壮逸宽恣，略不屈挠。若当夏郁蒸，华果四合，特宜为之。始于内激，既藏又含，外激而沉，终于五少而五太，则《深谿虎》之音备矣。

No.3.

The “Tiger in a Deep Ravine” was heard by a good whistle of ancient days and written down.

Defiance to excess; rage to the limit. Open on Shang, and express reckless bravery unrestrained. The air suggests lush summer growth of twigs, and flowers and fruit in plenty.

The proper way to do it is to open on Nei Ji（2）;proceed to Cang（6）;go on to Han（3）,Wai Ji（1）,and Chen（7 and 8）.Close upon Wu Shao（12） and Wu Tai（11）.

Such is the general outline of the “Tiger in a Deep Ravine”.

高柳蝉章第四

高柳蝉者，古之善啸者，听而写之也。飘扬高举，缭绕萦彻。咽中角之初①，清楚轻切，既断又续。华林修竹之下，特宜为之。始于大沉，次以五少，激散、越，系而令清②，终以小沉，则《高柳蝉》之音备矣。

[校记]

①此句，陶本、陈本同，程本无“咽”字。

②此句“系”，唐本同，陶本、程本、陈本作“击”，非。

No.4

The “Cicada on a Tall Willow” was heard by a fine whistler of olden times, and written down while listening. Floating idly and rising high, it eddies and permeates.

The beginning of the sound Zhong Jiao is not clear; it is high but harsh; thin but stressed; it ceases suddenly at times, then resumes. It suggests flowering forest, with bamboos overhead.

The eminently proper way to do it is to open on the note Da Chen（7）;go on to Wu Shao（12）,Chi（1 and 2）,San（5）,and Yue（6）.Continue, and make the notes thrill. Close on Xiao Chen（8）.

Such is the general idea of the “Cicada on a Tall Willow”.

空林夜鬼章第五

空林夜鬼者，古之善啸者，夜过空林而写之也。点柳蟋蟀①，铁窃璚绝，轻不举，纤不灭，中徵之馀，浓雪昼暄②，凄风飞雪之时，特宜为之。奏之，当以道法，先呼群鬼聚于空林之中，递为应命，心当危危然，若有所遇。始于内激，次以五少，三去宫商耳③，以越连之，则《空林夜鬼》之旨备矣④。

[校记]

①此句，陈本缺“柳”字。

②此句程本作“浓云昼暝”，陈本作“浓雪昼瞑”，唐本作“浓云昼暄”。

③此句“耳”，唐本同，原校：案《夷门》本作“角”。陈本、程本同。是。

④此句“旨”，程本、陈本作“音”。

No.5.

“Night Demons in a Lonely Wood” was recorded by a good whistler of ancient days when passing through a lonely wood at night. It suggests crickets dotted about willow trees, and twittering birds in the distance. The note is low（light） and rising, soft but not dying away. It suggests heavy clouds at dawn, a time of winds and flying snow.

Eminently suitable to do it is the Taoist method: first summon a crowd of demons; assemble them in a lonely wood; gradually bring them into subjection. The heart should palpitate as though one actually met a demon.

Open on Nei Ji（2）;proceed to Wu Shao（12）.The sounds exclude Gong and Shang notes and Jue. But connect the sounds by the Yue method.

Such is the general idea of “Night Demons in a Lonely Wood”.

巫峡猿章第六

巫峡猿者，古之善啸者，闻而写之也。幽隐清远，若在数里之外，若自外而至，自高而下。杂以风泉群木之响，迥然出于众音之表①。中羽之初，日映空山，风生众壑，特宜为之。初以内激灱灱②，五连之③，前二缓而清，后三急而高，错总偏此④，则《巫峡猿》之旨备矣⑤。

[校记]

①此句“音”，陶本、程本、陈本作“声”；“迥”，唐本讹作“回”。

②此句“灱灱”，陈本同，原校：案《夷门》本作“初初”。此二字系衍文。

③此句程本作：“次以五少连之。”

④此句，唐本同，“总偏”，原校：案《夷门》本作“综遍”。陈本同，是。

⑤此句“旨”，陶本、程本、陈本作“音”。

No.6.

The “Gibbon of the Magic Cavern” was written down by a good whistler on hearing it. It suggests murky darkness with brightness in the distance, approaching and falling from many li away, mingled with the roar of the wind, the rush of many waters, and the rustle of forest trees. The howling of the gibbon emerges from this confusion of many sounds. The key-note opens on Yu. Then the sound illumines the bare mountains and the wind rises in all the valleys.

The proper way to do it is to open on Nei Ji（2）;repeat from the beginning five times in succession, the first two clear and shrill, then three times quick and high. These complex sounds once gathered up, give the general effect of the “Gibbon of the Magic Cavern”.

下鸿鹄章第七

下鸿鹄者，出于师旷清角之旨，古之善啸者，听而写之也。其声宽绰浩渺，不绝以节①，洪洞不绝②，既上未上③。宽大内外，闻而乐之；轻浮遒急，闻而恶之。尝奏则求此一一听之④，受恶分明⑤，鸿鹄下矣。且善啸无其声，至远不越数百尺，鸿鹄翔于冥冥之间，曷由闻而下也？盖激气出于辱齿之间⑥，妙声转于风景之际，则风景和；风景和，则元气下降，翔云之间，游元气之上，有不随而下哉⑦！若高秋⑧，和风景丽，特宜为之。先以外激，翔风数十发声⑨，次以疋、叱，然后纯以五太，终以散、越成之。三奏而清风臻⑩，五奏而流云卷，九奏而鸿鹄降，则《下鸿鹄》之音备矣。

[校记]

①此句，程本无。

②此句陈本无“不绝”二字。

③此句，程本无。

④此句“尝”，程本作“当”。

⑤此句“受”字下，原校：案《夷门》本作“爱”。程本、陈本同，是。

⑥此句“辱”字，陶本、程本、陈本作“辰”，原校：案《夷门》本作“唇”。是。

⑦程本无“且善……有不”诸句。

⑧此句“秋”下，程本有“空旷”二字，陶本、陈本无。

⑨程本无此句。

⑩此句“臻”，程本作“生”。

No.7.

“Snow Geese and Swans Alighting” was extracted from the “Qing Jue” of the musicians of the Jin. A fine whistler of olden days wrote it. If the sound is spacious and widespread it is pleasurable. If it is short and shrill it is disliked. When the music is played, each sound, both broad and short, must be listened to, and then there will be no liking or disliking, any more than there would be if one could discern clearly the sound of snow geese in the distance.

Moreover, those good at whistling may be silent; even if there is sound it may not go beyond a few hundred feet. Huge snow-geese fly in the sky. Where do you hear that sound on the way down?

Indeed, if the breath be forced out between lips and teeth, an exquisite note passes into the surrounding air. Thereupon the surroundings become pleasant; they being pleasant, the original air（source of strength）descends.（The snow-goose）can fly down from the flying clouds or float above in the sky. Can you say it cannot come down from the sky? As high autumn is mild and the scenery beautiful, so the specially proper way to do it is first to produce some score of times the rustle of swans rising up wind¾this on Wai Ji（2）;then continue to Pi（9）and Chi（10）;modulate into Wu Tai（11） and end on San（5） and Yue （6）.Three performances, and fine weather will come; five, and the flying clouds will roll up; nine, and the snow-geese and swans will alight. Such is the “Snow Geese and Swans Alighting”.

古木鸢章第八

古木鸢，古之善啸者，闻而写之也。飞射哀咽，洪洞缭远①，若有所不足。郁郁振荡，适断又续，寒郊原野，阴风若雾②，特宜为之。始于内激，长引之，吹疋、叱③，又散，则《古木鸢》之旨备矣④。

[校记]

①陈本缺“缭”字。

②此句“若”字，陶本、陈本、唐本同，原校：案《夷门》本作“苦”。此句陈本缺“风”字。

③此句“吹”，陶本、程本、陈本作“次”，是。

④此句“旨”，陶本、陈本作“音”。

No.8.

The “Kite on a Dead Tree” was written down by a good whistler of ancientn times while listening to it.

On the wing, the bird emits a mournful cry which rings through the far spaces as if it were dissatisfied; it breaks off and recommences, cold and cheerless as the wilds, shadowy and vague as the bitter mists.

The eminently proper way to do it is to begin on Nei Ji（2） and hold the note a long time; then to Pi（9）and Chi（10）;continue to San（5）.The above describes the “Kite on a Dead Tree”.

龙吟章第九

龙吟者，龙吟水中，古之善啸者，闻而写之也。深沉郁没，重厚湿润，高不扬不杀①，声中宫商，傍映岩峦，俯对潭洞，特宜为之。先以内激，次含，又藏，具大②，终以沉，则《龙吟》之旨备矣。

[校记]

①此句程本作：“高不扬，低不杀。”是

②此句“大”字下，原校：案《夷门》本作“太”。是。子烨案：“太”字前又脱一“五”字。

No.9.

The “Dragon Droning” or “Dragon Droning in the Waters” was written down while listening by a good whistler of ancient times. The dragon sinks down while listening by a good whistler of ancient times. The dragon sinks and disappears, renewing his glossy appearance. The drone is high, but neither rises nor falls. The key notes are Gong and Shang. Mise en Scene: on the side are sunlit crags leaning over; one looks into a deep pool or a dry abyss.

The eminently correct way to do it is to open on Nei Ji（2）;and proceed to Han（3） and Cang（4）.Prepare an impressive ending on Chen（7 and 8）.Such is the description of a “Dragon Droning”.

动地章第十

动地者，出于公孙①，其音师旷清徵也②。其声广博宏壮，始末不屈。隐隐习习，震霆所不能加，郁结掩遏③，若将大激大发。又以道法，先存以身，入于太上之下，鼓怒作气，呵叱而令山岳俱举④，将手出于外。夫坤仪至厚，地道至静，而以一啸动之，不亦异乎？然有所动之。何者？夫人心志而发乎气，气激于外而成于声，声含太宫、太商，自然与四气相合。则吕动律应，阳行阴伏，必阳藏而动阴，阴藏而动阳。当藏而动之，则振发不定，地居阴阳之上，焉有所负者动而所据能息哉⑤！然则，声作而见动地之道，知音乐之有感，不必与震动⑥，然后谓动地之声⑦。地气闭涸，烟凝阴沍，特宜为之。先以内激，此以大沉⑧，藏、含悉作，动以五太成之⑨，则《动地》之音备矣。

[校记]

①此句“公孙”，原校：案《夷门》本作“孙公”。

②此句程本作：“师旷其音清徵。”

③此句“郁”字上，程本有“若”字。

④此句“呵”，陶本作“阿”，误。

⑤此句陈本缺“哉”字。

⑥此句“与”字，原校：案《夷门》本作“真”。陈本缺“与震”二字。

⑦程本无“若将……然后”诸句。

⑧此句“此”，陶本、程本、陈本作“次”，是。

⑨此句“动”，程本作“终”。

本章“阴藏”句，“阳”，唐本讹作“羊”；“当藏”句，“当”，唐本讹作“毋”；“动以”句，“太”，唐本讹作“大”。

No.10.

The “Earthquake” is extracted from Sun Gong. The notes were corrected by musicians of the Jin Kingdom.

The sound is widespread and vast; uniform, without variation all through, mysterious and continuous; the rumble of thunder is not louder. It is depressing and alarming, as is the note Zhi uttered with force.

When one has absorbed the rule of Tao and raised oneself to the highest pitch of exaltation, and all accumulated wrath has evaporated（being rendered immaterial）,then an angry shout may cause mountains to heave and make one throw out one’s hands（in terror）.

For indeed, the earth is the most solid of things, and the way of the land is most calm. Would it not be strange to shake it with a whistle? Still, there are things that move it. What are they? Well, man is decided and breathes out. His breath is urged outwards and ends in sound; sound solidifies itself in Tai Gong and Tai Shang notes, which thus of themselves mingle with the four cosmic vapours. Then the Lv vibrates and the Lv responds; the Yang acts and the Yin is passive. Certainly the Yang accumulates and reacts on the Yin; the Yin accumulates and reacts on the Yang. Having accumulated and having moved then the mode of expression is uncertain. Since the earth rests upon these two interactive steps, how can they disturb what they support and hold? Can it remain motionless? Thus, then, sound being produced, we perceive the reasonableness（possibility） of terrestrial movement. We know that music has effects. It may not necessarily produce an active earthquake, but afterwards we call it “earthquake sound”, and say it is the solidification of the Zhi of earth and the congealing of the Yin.

The eminently proper way to do it is to open on Nei Ji（2）,proceed to Da Chen（7）; Cang（4） and Han（3） are both taken. Wu Tai（11） expresses the moving. This is the description of the “Earthquake”.

苏门章第十一

苏门者，仙君隐苏门所作也。圣人述而不作，盖仙君述广成①、务光，以陶性灵，以演大道，非有以成声音作程品也。昔人有游苏门时，闻鸾凤之声。其音美畅殊异，假为之鸾凤②，鸾凤有音而不得闻之。苏门者，焉得而知鸾凤之响③？后寻其声，乃仙君之长啸矣。仙君之啸，非止于养道怡神，盖于俗则致雍熙，于时则致太平④，于身则道不死，于事则摄百灵、御五云，于万物则各得其所。感应之效，莫近于音，而仙君得之⑤。至于飞走禽兽，啸之末者⑥。晋阮嗣宗善啸⑦，闻仙君以为己若⑧，往诣焉⑨。方被发握坐⑩，籍再拜而请之。顺风而请者三，承风而请者再，仙君神色自若⑪，竟无所对。籍因长啸数十声而去。仙君料籍固未远，因动清角而啸，至四、五发声，籍但觉林峦草木皆有异声。须臾，飘风暴雨忽至，已而鸾凤孔雀缤纷而至⑫，不可胜数。籍既惧又喜而归，因传写之⑬，十得其二，为之苏门。今之所传者是也。深山大泽，极高极远宜为之。先发五太、五少、沉、激，内外⑭，一十二法备举，方得《苏门》之音矣⑮。

[校记]

①盖，陈本作“言”。

②此二句陈本作“其音美畅，无异鸾凤”。

③程本无“假为……焉得”诸句。

④此句“致”，程本作“道”。

⑤程本无“御五云……而仙君得之”诸句。

⑥“至于”二句，程本作：“至于裂金石，诏鱼鸟，乃啸之末耳。”

⑦此句“善”上，程本有“自负”二字。

⑧此句“己”，陈本同，陶本作“巳”，误。

⑨此句“诣”，程本作“请”。

⑩子烨案：此句“握”，当为“卧”字之讹，各本均误。

⑪此句“自”，陶本作“目”，误。

⑫此句“已”，陶本作“巳”，非。此句程本无“而至”二字。

⑬此二句程本作：“籍既惧又喜,归而写之。”

⑭子烨案：此句“内外”二字，当在“激”上。各本均误。

⑮此句“得”上，陶本、程本有一“少”字。

No.11.

The “Su Men” was composed by the Taoist Immortal Recluse, who lived in the Su Men Mountains（Ho Nan）.

The Holy One transmitted, he did not make it. The Immortal transmitted（the music of） Guang Cheng and Wu Guang in order to rejoice the spirit and expand the Tao. He did not regard music as the main task.

In olden days there were those who those who roved in Su Men listening to the phoenix songs.

The notes were exquisitely clear, very different from the so-called pretended phoenix. The phoenix makes sounds but humans cannot hear them. How then can the Su Family know the sound of the phoenix? Hereafter, when seeking the sound, bring up the Immortal’s whistle.

The Immortal’s whistle does not stop at fostering the Tao and gratifying the spirits; for indeed, in everyday affairs it brings harmony into the world, and peace in season. In one self the Tao never dies, in objective matters it assists all that is sacred, and conducts the Five Influences. In the arcana of Nature order prevails. For success in obtianing response（to such efforts） nothing approaches music. The Immortal has evolved the one successful form. As to all wild things whistling is the one thing needful. Ruan Si Zong of Jin （Ruan Ji） was fine whistler. Hearing that the Immortal thought himself his equal, he （Ruan） went to visit him. The Immortal remained seated with his hair in disorder .Ruan bowed repeatedly and inquired after his health. Thrice and again thrice he addressed his（uncivil） host. The Immortal maintained his attitude and made no response. Ji then whistled some score of notes and left. The Immortal, estimating that his guest had not gone far, began to whistle the Qing Jue to the extent of four or five movements. But Ji perceived that the mountains and all growing things took on a different sound. Presently came a fierce whirlwind with pelting rain, followed by phoenixes and peacocks in flocks; no one could count them. Ji was alarmed, but also pleased, and he returned home and wrote down the story. He obtained only two-tenths of it, and called it “Sun Men”. This is what they tell there.

The motif of the song is lofty mountains and wide marshes, great heights and distances.

Opne on Wu Tai（11） and Wu Shao（12）;then Chen（7 and 8） and Ji（1 and 2）,both Nei（2） and Wai（1）, and so though the whole twelve methods and you get something of the music of Su Men.

刘根命鬼章第十二

刘公命鬼，仙人刘根之所为也。昔刘根道成，雅好长啸①，为太守所屈，因啸召太守七世之祖立至。其声清净径急②，中人以下恶闻之③。虽志人好古，啸者多不隶习④，以故其声多阙⑤。后之人莫能补者，谓之元刚格。先以五少之三去宫商⑥，次用内激、大小沉，终以疋、叱，则《刘公命鬼》之声备矣。

[校记]

①此句“雅”，程本作“惟”。

②此句“径”，程本作“劲”。

③此句“以”，陶本作作“巳”，误。

④此句“隶”，陈本作“肄”。

⑤陈本无“多”字。

⑥此句程本无“之”字，“商”下有程本“角”字。

No.12.

“Liu Gong commanding Demons” was composed by Liu Gen. Liu Gen attained to being the perfect （complete） Taoist. He possessed a refined taste in whistling. Being insulted by the Prefect he whistled, and called his（the Prefect’s） grandfather of the seventh generation to come. He came forthwith.

His notes were pure and high, short and quick. Anyone below the average of musical taste disliked listening to his performance. Although a determined man might like the old style of whistling, yet for the most part it was not practised. Hence the text of the notes has many hiatuses, which posterity has been unable to fill. They call this the” Stiff Model”.

Open with the three notes of Wu Shao; do not apply Gong and Shang. Then use Nei Ji（2）,Da Chen（7）,and Xiao Chen（8）.End on Pi（9） and Chi（10）.Then “Liu Gong commanding Demons” is described.

阮氏逸韵章第十三

阮氏逸韵者，正阮籍所作也，音韵放逸，故曰逸韵。用法多比权舆，与《流云》之鳞轣十二间无约束①，多散、越。大雅君子与常才龌龊者，皆宜听之。天气清肃，氛垢之外，乃可杂埙篪世俗之乐，郑卫入耳②。善啸者多能为之③。林泉逸人，每为呼风，亦偶作一韵，法寄在众之中④。兴矩则短之⑤，兴尽则止，则《阮氏逸韵》之旨备矣⑥。

[校记]

①此句“鳞”字，原校：案《夷门》本作“辚”。程本同。是。

②此二句，“世俗”，陶本、唐本作“俗态”，“郑卫入耳”，陶本同；但此二句程本作：“乃可杂埙篪而作俗态之乐，郑卫之音，不可入耳。”

③此句“为”，程本作“办”。

④此句“众”字下，程本有一“乐”字。

⑤此二句，陈本作“兴短则短之，兴尽则止”，唐本同；“矩”字，程本、陈本作“短”。原校：案《夷门》本作“举”。“短”字，原校：案《夷门》本作“发”。“氏”字，陶本脱。

⑥此句“旨”字，程本作“音”。

No.13.

The “Loose Rhymes of the Ruan” were really composed by Ruan Ji（210～263）. The rhymes are free and easy; hence the title.

In the use of the various methods this air resembles the runs and repetitions of the “First Principles”（No.1） and “Fleeting Cloud”（No.2）.The twelve methods may be freely used; San（5） and Yue（6） are used most often. Both persons of refinement and culture and commonplace and mean folk can listen with appreciation.

The majesty of the heavenly principle, purged from all miasmic influence, may mingle with the ordinary music of the Xun and the Chi, and the music of Zheng and Wei enter. Most good whistlers can perform this air. Whenever persons retired in the woods and by springs puff out wind and by accident produce a rhymed sound, if their attempt misses success, it is simply a misfire; if it is completely successful then it remains.

The above gives a general idea of the “Loose Rhymes of the Ruan”.

正章第十四

正者，正也，深远极大，非常声所拟。近代孙公得之。人未之听①，致平和而却老不死者，此声也。今有义，亡其声。

[校记]

①此句“人”，程本作“入”，非。

No.14.

Standard just means Standard. Extraordinary sounds bear no relationship to usual notes.

In comparatively modern days, Sun Gong was successful, but people did not listen. As to peaceful notes, they stave off old age and do not allow one to die.

These Standard notes are known about, but the notes themselves are lost.

毕章第十五

毕者，五声之极，大道毕矣。尧、舜之后，有其义，亡其声。

No.15.

The Conclusion is at the extremities of the scale, the end of the Great Tao. After the days of Yao and Shun there was some idea of these notes, but the actual notes were lost.

跋

《啸旨》不著作者氏名，观其命辞，殆似出于唐人，而今不可考矣。是书人间罕传，书序谓王母授南极真人，真人授广成子，其说诞妄不经，惟十有二法，及载孙登、阮籍，则诚可谓得啸之旨者。序又谓登无所授，而籍之后湮灭无闻。予向尝以使事道经洛阳，游苏门山，访孙、阮遗迹，思鸾凤之声，不可得闻，为之快悒①。夫人之声，即天地之声也，人有古今，而声无古今。是书既行，安知山林之下，无孙、阮者出？然则，岂终于湮灭而无闻也哉！正德庚辰，虎丘老樵都穆跋②。

[校记]

①此句“快”，原校：案《夷门》本作“怏”。是。

②此跋附见陶本、陈本、唐本及原校本之末，程本无此跋。

Colophon

The name of author of the “Principles of Whistling” is not given. Looking at the general statement, it seems very probable that it was written by some one in the T’ang dynasty, but there is no evidence to decide this. This book is exceedingly rare.

The preface says,“the（Western）Queen Mother taught the Fair of the South Polar Star; he passed it on to Guang Cheng Zi”. This is extravagant talk, and not usually accepted. But the twelve methods are found in Sun Deng and Ruan Ji, so that we can truly say we have the general purport of Whistling. The Preface also says that Sun Deng did not hand on （the gift）to anyone, and after Ruan Ji it disappeared and was no more heard.

I once went to LuoYang on business and made a trip to the Su Men mountains visiting the former haunts of Sun and Ruan, but me thinks it is not permitted to hear the notes of the phoenix—most unfortunately I was not favoured. Now the voice of man is the voice of the universe（nature）.Man may be ancient or modern, but sound is eternal, never new or old.

Now the book is going forth and who knows whether a Sun or Ruan may not appear in some mountains or woods and, that being so, who can say that there is an end to Whistling?

Ming dynasty, Zheng De Geng Chen（1520）.

Edworth’s English Translation ofand Its Concept of Xiao History

FAN Ziye

( Institute of Literature, Chinese Academy of Social Sciences, Beijing 100732, China )

is a special book that records Xiao Shu in the Tang Dynasty of China. In the first half of the 20th century,began to enter the field of vision of Chinese and Western scholars at the same time, and the modern significance ofand the study of Chang Xiao kicked off. In 1938, the British scholar Edworth introducedin her book, and in 1957, she translated theinto English and published it. Edworth has been studyingfor twenty years. Her research conclusions and related explanations fully reflect her Xiao’s historical concept. Around 1937, Edworth mainly regarded Xiao as a special poetic technique. By 1957, her understanding and interpretation of Xiao changed from "poetry recitation" to "whistle theory". Her discussion and interpretation ofare not only cultural insight, but also academic strength. In fact, as Edworth predicted, Chang Xiao still exists in the world, that is, the Homai art of the Northern Nomads. As an "exceptional book" of special value,belongs to China and the world. Under the guidance of Edworths, the secret collections ofcan "travel to the west". The mysterious art of howling from the ancient eastern country was spread to the West. This can also be called a small miracle in modern academic history.

, Edwards, the concept of history, poetry recitation, whistle theory, Homai Art

I206.2

A

1673-9639 (2021) 04-0056-21

2021-04-12

范子烨（1964-），生于内蒙古莫力达瓦旗，文学博士，中国社会科学院文学研究所研究员，中国社会科学院研究生院文学系教授，中国古典文学专业博士生导师，主要研究领域为魏晋南北朝文学与文化。

（责任编辑 郭玲珍）（责任校对 肖 峰）（英文编辑 田兴斌）