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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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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
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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
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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
Hervey-Saint-Denys's
version
of Li-Tai-Po's
Lotus-collectingSong.
85
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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
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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.
8/20/2019 The Sources of the Texts in Mahler's Lied Von Der Erde
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.
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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.
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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
Hervey-Saint-Denys's
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.
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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
8/20/2019 The Sources of the Texts in Mahler's Lied Von Der Erde
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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
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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
8/20/2019 The Sources of the Texts in Mahler's 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
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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
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