Chapter 178: Enraptured

After the laughter in the room gradually subsided, the seasoned music critic paused briefly, his previously relaxed smile replaced by a serious expression as he began to speak: “The time for jokes has passed; let us return to the main topic.”

“So now, allow me to evaluate the three songs performed by contestant Su Chen.”

“These three songs are, in order, the first titled ‘Blue and White Porcelain,’ the second ‘String-Puppet Drama,’ and the final one, ‘Compendium of Materia Medica.’”

“According to the competition rules, as judges, we are only required to comment on the first song, which is Su Chen’s competition piece, ‘Blue and White Porcelain.’”

“However, I find that my evaluation of this song is not as rich as that of the other judges. In simple terms, I can only say it’s good—nothing more elaborate.”

“So, I will leave the critique of ‘Blue and White Porcelain’ to my fellow judges. As for me, I am more intrigued by ‘String-Puppet Drama.’”

“After all, at my age, it would feel rather out of character not to discuss a song with an operatic style.”

The critic’s subtle humor elicited hearty laughter from the audience. Realizing he had once again broken the solemn atmosphere, the old gentleman smiled ruefully and joined in the laughter.

He continued, “In truth, ‘String-Puppet Drama’ strikes a chord deep within me.”

“Although, due to my studies in classical literature, I can detect some flaws in the lyrics—forced rhymes and occasionally unclear meanings abound.”

“For example, phrases like ‘original sin,’ ‘you withered, I never did,’ and ‘the flames flourish’—let me clarify that ‘flourish’ is a botanical term, which is somewhat inappropriate when paired with ‘flames.’”

“But at the very least, it tells a compelling story and is a beautifully composed song.”

“I’m not sure if everyone knows, but I happen to have read the original classical tale behind Su Chen’s ‘String-Puppet Drama,’ which is from Wu Zimu’s Song Dynasty work, ‘Dream of Liang: A Hundred Entertainments and Arts.’”

Having spoken at length, the old gentleman appeared somewhat fatigued. Taking a breath, he went on, “The beginning of the lyrics—I wonder if everyone fully grasped it—is about the relationship between a puppet and an old man.”

“After some ornate wording, the song moves into its core: ‘You are tattered, I am painted; side by side, we traverse mountains and waters; you grow haggard, I brighten for you.’”

“The imagery here is vivid: a person and an object, companions traveling through countless mountains and rivers—how beautiful.”

“The old man is weary, yet the puppet remains radiant. This line immediately reveals the old man’s deep affection for the puppet. And the word ‘brighten’ is especially poignant—I will return to that later.”

His meticulous analysis prompted the audience to reconsider the song with newfound insight.

“Next, the lyrics say, ‘You kiss open the brush, dyeing tears at my eye’s corner; performing partings and reunions, joys and sorrows, for whom? Upon the three-foot red stage, all affairs are sung.’ These lines depict the essence of puppet theater.”

“Upon closer inspection, this is not merely narrative but the puppet’s own understanding of performance, carrying a certain detached, enlightened melancholy.”

“The phrase ‘three-foot red stage’ is grandiose, and I find it particularly moving.”

“In this world, how many lives have been consumed by love, hatred, passion, grief, joy, partings, and reunions? So heavy a burden, yet all is elegantly sung upon a small three-foot red stage—how ironic!”

“When I first heard this, I immediately thought of the saying, ‘How many events of old and new, all become but laughter and talk,’ which shares a similar essence.”

The audience nodded in deep agreement.

Indeed, the lyrics of ‘String-Puppet Drama’ possess a rich charm, bordering on poetic intensity.

The critic paused briefly before continuing.

“The next line, ‘Parting so long that sorrow ceases to be sorrow; too much passion turns to ash,’ sparked much debate among the judges. Some felt the phrase was archaic yet not contemporary, making it nonsensical.”

“However, I found it remarkably striking. Whether it is ‘parting long, sorrow ceases to be sorrow,’ or ‘parting, sorrow ceases to be sorrow long,’ both interpretations hold and convey a similar meaning.”

“So, I personally believe there’s no need to overanalyze.”

“But why would sorrow, after prolonged parting, cease to be sorrow? That seems illogical. The following lines provide the answer.”

“Because ‘too much passion turns to ash’—sorrow is like burning embers; after a time, the heat reaches its peak, and at that intense red glow, it gradually cools, eventually becoming cold ash.”

“This is not the absence of sorrow but the transformation of sorrow at its zenith into helpless despair.”

Upon hearing the critic’s explanation, the entire audience shuddered in realization.

Without such interpretation, who could fathom such profound meaning?

Though the crowd was awestruck, the old gentleman’s passion only grew more fervent and his pace quickened as he delved deeper into his admiration for ‘String-Puppet Drama.’

“The first half of the line is ingenious, and the latter half’s interpretation is equally brilliant. Transforming the original phrase ‘Even when blackened, the bones remain,’ into a subtle satire on corrupt officials, akin to the deep love in ‘wax candles burn to ashes, tears finally dry,’ is truly splendid!”

“The latter part of the song details the interaction between the puppet and the old man during performances. Here appears a potentially controversial line: ‘You are wrong, but I refuse to admit it.’”

“In truth, I see no issue with this lyric—it is simple and direct, yet fitting.”

“This line underscores why I claim the song tells a great story—‘You’ are wrong, but ‘I’ am not compelled to follow your error.”

“No, ‘I’ simply refuse to acknowledge it!”

“In the normal world, a puppet’s every move is dictated by others, lacking independent will.”

“But in ‘String-Puppet Drama,’ Su Chen reimagines this: the puppet’s obedience stems from love. This elevates the concept profoundly.”

“Though clearly you are at fault, regardless of the world’s judgment, ‘I’ choose to err alongside you, humbly submitting to your control to an almost distorted degree. Is there anything more perfect in the world? It is a pure embodiment of infatuation.”

“This song, from start to finish, narrates the tale of an infatuated puppet—not forced to dance by strings, but willingly surrendering selfhood to become a mere marionette out of love!”

“At this point, the boundary between the old man and the puppet blurs.”

“You grow weary, but it matters not; I will brighten for you. I understand your every move, dancing the dance you envision in your heart.”

“And at the end, when the puppet is reduced to ash, what does it think? ‘How can I always keep him warm?’ And, ‘It does not matter; I have accompanied you into old age. Even if nothing remains, this life is content.’”

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The audience was utterly entranced, hanging on every word as if spellbound.