In my trilogy of books and dozens of articles about medieval picture storytelling in South, Central, East, and Southeast Asia, I stressed the alternation of sung and spoken passages as performed by the narrator:
Tun-huang Popular Narratives (Cambridge University Press, 1983)
Painting and Performance: Chinese Picture Recitation and Its Indian Genesis (University of Hawai'i Press, 1989)
T'ang Transformation Texts: A Study of the Buddhist Contribution to the Rise of Vernacular Fiction and Drama in China (Harvard University Asia Center, 1989)
Because of the close association with illustrative pictures to complement the narrative (or perhaps it would be more accurate to say that the pictorial narratives were being explicated by the accompanying texts), I stressed the alternation between spoken and sung portions, where the former told the story and the latter highlighted certain aspects of the tale. This type of narrative has been well studied in various literatures around the world. See Joseph Harris and Karl Reichl, eds., Prosimetrum: Crosscultural Perspectives on Narrative in Prose and Verse (Martlesham, Suffolk, England: Boydell & Brewer, 1997).
In the quintessential Chinese genre of this type of picture storytelling, biànwén 變文 ("transformation texts"), there is a distinctive pre-verse formula which marks the transition from prose to verse. The typical form of this formula is "qiě kàn XX chù ruòwèi chénshuō 且看XX處若為陳說" ("just look at the place [where XX occurs], how shall I present it?").
Read the rest of this entry »