396 a s y n tHe sis
use of tripling. Lines 1–3 constitute a tripling of hexasyllabic lines, and each line, in
turn, a tripling of binomes. Thus we have a string of ten binomes (nine in lines 1–3
plus one in line 4). This produces an even more prolonged rhythm of 2 + 2 + 2...
than in Li Qingzhao’s poem. The aesthetic effect, however, is just the opposite. In
Li Qingzhao’s poem, all the disyllabic segments are emotionally charged redupli-
catives. Their rapid succession hastens the tempo and enhances the intensity of
emotional expression. In Ma Zhiyuan’s poem, however, all of the ten binomes are
nouns for objects or scenes. Placed in succession, they suggest slowly shifting views
of a traveler on the move. First, he catches sight of “withered vines” along the an-
cient path. Following the vines upward, he sees an old tree and the crow perched
in it. Next, a “small bridge” comes into his view, with the brook meandering and
leading his gaze to the village homes afar. Finally, the village is left behind, and the
ancient path appears again—a “lean horse” and traveler trudge into the sunset. All
these images, static or devoid of forceful motion, suggest the slow pace of a gruel-
ing journey and the traveler’s sense of weariness. The flitting appearance of a pleas-
ant village scene serves only to set off the unending desolation and sorrow faced
by the traveler. In terms of syntax, the ten binomes constitute multiple topics of
observation, while the final line is the speaker’s comment on all these topics. This
top-heavy topic + comment strikes us as the reverse of what we saw in Cai Shen’s
“To the Tune ‘Sixteen-Character Song.’” Whereas Cai Shen’s poem begins with one
topic followed by multiple lines of comments, Ma Zhiyuan’s poem consists of ten
topics placed in succession and only one line of comment at its end.
Out of the same tune, “Sky-Clear Sand,” Qiao Ji (1280–1345) fashioned an even
more innovative topic + comment construction, one in which the comment has
imperceptibly merged with the topic:C 1 8. 5
To the Tune “Sky-Clear Sand” [yuediao key]: Of This Occasion【越調】天淨沙^ 即事^ ([yuè diào]^ tiān jìng shā jí shì)
oriole oriole swallow swallow spring spring 鶯鶯燕燕春春 △ (yīng yīng yàn yàn chūn chūn)
flower flower willow willow lush lush 花花柳柳真真 △ (huā huā liŭ liŭ zhēn zhēn)
thing thing breezy breezy graceful graceful 事事風風韻韻 ▲ (shì shì fēng fēng yùn yùn)
delicate delicate tender tender 嬌嬌嫩嫩 (jiāo jiāo nèn nèn)
slender slender perfect perfect person person 停停當當人人 △ (tíng tíng dàng dàng rén rén)
[QYSQ 1:592]
Comparing “Of This Occasion” with “Autumn Thoughts,” we note two promi-
nent differences in the handling of disyllabic segments. First, Qiao Ji’s poem is
entirely made of disyllabic segments, while Ma Zhiyuan’s poem has two trisyl-
labic segments (3 + 3 beat) in the last line. The makeup of the disyllabic segments
is also markedly different. Whereas the ten disyllabic segments in Ma Zhiyuan’s
poem are all noun binomes, all fourteen disyllabic segments in this poem are
reduplicatives.