Faazin Gei
Faazin Gei (), or The Flowery Paper is a Chinese "mukjyusyu" style ballad written in the late Ming era. It is the earliest known work containing elements of written Cantonese. This book was also of particular interest to early European Sinology. Along with "Iu-Kiao-Li", it is regarded the most influential Chinese book for 19th century European writers. Name. There is no conventional English translation for the title of the book. Variants mentioned in various works include: The subtitle "The Eighth Outstanding Work" () implies that this book is a part of a certain canon with ten or eleven  books included. Such canons are extensions over more traditional "Six Outstanding Works" (). Composition. The oldest extant edition of "Faazin Gei" is dated 52nd year of Emperor Kangxi (1713/1714), but the consensus of the scholars is that it was first published during the late Ming dynasty (17th, or even 16th century). Zheng Zhenduo, who found that edition in the Bibliothèque nationale de France in 1927, noted that some characters are seemingly extracted from the text — those were politically tabooed under the Qing, particularly, 番 (barbarian) and 胡 (steppe nomad). This oldest edition already contained fine commentary by (, also known as Zung  Jingsyut , 1683-1768), and a preface by Zyu Gwongzang (), and was one of the three main forms in which the text circulated, along with an illustrated and annotated edition (its earliest extant version is dated 1771) and a cheap 19th century performance script. The Flowery Paper was once mistakenly attributed to the early medieval period by Zhao Yiheng (), a renowned Chinese writer and translator, who referred to the Thoms's translation as "the earliest anthology of Tang poetry in English". He likely confused "Faazin Gei" with an unrelated 10th century work, Huajian Ji (), whose title has the same Mandarin pinyin  romanization. The author of the book is unknown, but he was clearly an educated person with a literary background. The early commentary by Zung Daaicong, referenced also by Thoms, claims that there were rumors about "two Cantonese people" who composed the ballad, a scholar with a "gaaijyun" rank (, a person ranked first in provincial exam), and another one with a "taamfaa" rank (, ranked third in imperial exam). Besides the preface, absent in some editions, the ballad contains 59 sections, also termed "songs". Each song line contains seven characters, just like "tanci", a similar song form found in other regions of  China. The book's format is usually termed "mukjyusyu". This is a general term for songbooks containing songs in various genres, including "mukjyugo", "naamyam", and "lungzau". It's hard to draw a clear boundary between them, and many editions of the book and even academic studies use the terms "naamyam" or "mukjyugo" to describe it. The "naamyam" songs were usually accompanied by string instruments, while the "mukjyugo" were preformed without music, only simple percussion instruments like wooden fish might be used. Some scholars also say that the "naamyam" songs are longer than "mukjyugo ", and "lungzau" is the shortest form. Influence . The Flowery Scroll has long been popular in the Guangdong region. Generally, songbooks were regarded there as a low genre, but this book gained unusually high prestige even among the educated public. It was partially thanks to the recommendations given by Zung Daaicong and Zyu Gwongzang. In his preface, Zyu says that initially the literati sneered at him for recommending a book that "even village boys or vulgar women could read", but he became committed to change their mind. The text is an early attempt in introducing vernacular Cantonese speech into the literary language. Its language is still deeply influenced  by the literary Chinese, the main written language of the time, but it also contains a considerable amount of uniquely Cantonese characters and wording. Copies of "Faazin Gei" made their way until Japan, and in Vietnam, the ballad was adapted as "Hoa tiên" by Nguyễn Huy Tự (1743-1790) and later revised by Nguyễn Thiện (1763-1818). Some scholars even propose a view that The Flowery Scroll, and "mukjyusyu" genre in general, significantly influenced Northern Chinese and Manchu song traditions, such as "zidishu" ballads. The Flowery Scroll was widely read not only in Asia, but also in the West. The  famous German poet Johann Wolfgang von Goethe read the Thoms's English parallel translation and, inspired by it, composed his "Chinese-German Book of Hours and Seasons" (1827). And even as late as the 1990s, "Faazin Gei" was among the best-selling "mukjyusyu" in New York Chinese community. Translations. The first English translation of the Faazin Gei was "Chinese Courtship in Verse", 1824, by Peter Perring Thoms. The book is sometimes considered the first direct English translation of a rhymed Chinese piece of considerable length. Criticized for poor English then and poor understanding of Chinese now, Thoms nevertheless attracted a  vivid interest internationally with his work. Some sources claim there also was a Russian translation from the English, but it was in fact merely a review in "Moskovskiĭ Telegraf", 11, 1826, itself translated from a French review by Jean-Pierre Abel-Rémusat. Other English translations are a rhyming version by John Chalmers in "Notes and Queries on China and Japan", 1867, and "Hwa tsien ki. The Flowery Scroll: A Chinese Novel", 1868 by John Bowring. It was translated into German by as "Das Blumenblatt, eine epische Dichtung der Chinesen, aus dem Original", 1836, also being the first full-length translation  of any Chinese literary text into German. The Dutch translation, "Hoa tsien ki, of Geschiedenis van het gebloemde briefpapier: Chinesche roman", 1865, was conducted by Gustaaf Schlegel. Fragments of the book in French were published as "Fa-Tsien, "Les billets doux"", 1876, by .