Fall 2024

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We are junior and senior students from several high schools in Nanjing. Our authors and artists contribute their works and boost their diversity and creativity in Blossom community We are expecting submissions from various young authors and artists, and we appreciate works from disparate perspective In Blossom, our fiction, academic essays, photography and art paintings are shared They will illustrate our creative ideas, aesthetic vision, and academic explorations

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Leader Team Introduction

C a t h e r i n e Y u

S t e v e W a n g

E d i t o r i n C h i e f D e p u t y E d i t o r

E r i c Z h a n g

C r e a t i v e D i r e c t o r

P a l o s L i u

I s s u e D e s i g n e r

A s h l e y

P r o d u c t i o n M a n a g e r

h t t p s : / / w w w . b l o s s o m q u a r t e r l y . c o m / b a c k i s s u e s

Editor Team Introduction

F r a n k W a n g

E s s a y E d i t o r

C o d y

O p i n i o n E d i t o r

W e a t h e r Y u

J o u r n a l i s m E d i t o r

W a d e Y i n P o e t r y E d i t o r

TABLE OF CONTENTS

A C A D E M I C J O U R N A L S

1

B i o l o g y - T h e E t h i c s o f S e r v i c e A n i m a l U s e

C a t h e r i n e

E c o n o m y - U n d e r s t a n d i n g t h e R e c e n t

I n t e r e s t R a t e C u t : W h a t I t M e a n s f o r Y o u

S t e v e

E c o n o m y - R e c e n t i n f l a t i o n d e v e l o p m e n t s i n

t h e e u r o a n d A m e r i c a n a r e a

T i n a

E n g i n e e r i n g - T h e S a u n d e r s - R o e P r i n c e s s :

A n e n g i n e e r i n g m a r v e l f r o m t h e g o l d e n a g e

R u i b o G a o

M u s i c - W e s t e r n m u s i c a l e l e m e n t s i n K u n

O p e r a p e r f o r m a n c e s

O P I N I O N E S S A Y

T h e R o s e T h a t N e v e r W i t h e r s m y t h o u g h t s

o n t h e r e t i r e m e n t o f D e r r i c k R o s e

C o d y

G l o r i a

6 0 0 2

h t t p s : / / w w w . b l o s s o m q u a r t e r l y . c o m / b a c k i s s u e s

P h o t o g r a p h y

A r t

S n o w W a

E x t o l l i n g C h e s s

E r i c

C o m i c E r i c A R T 6 4 6 8 7 1

G l o r i a

h t t p s : / / w w w . b l o s s o m q u a r t e r l y . c o m / b a c k i s s u e s

ANIMAL AID

THE ETHICS OF SERVICE ANIMAL USE

CATHERINE

ANIMAL HELPERS MORAL IMPLICATIONS

Introduction

How we should treat animals has been a topic of heated discussion ever since Peter Singer published his famous book Animal Liberation in 1975 These discussions have concerned animals as a whole (all that are non-human), certain classes of animals (such as in Tom Regan’s Animal Rights (Regan, 1987), which considers non-human mammals), and specific usages of animals (such as factory farm animals, experimental animals, pets, etc ) However, very few discussions concern service animals, which are animals (mostly dogs, or Canis lupus familiaris) that assist people with disabilities in their daily lives

The use of service animals dates back almost 200 years (Davis, 2015), but has increased significantly ever since legislation processes (such as the Disabilities Act (ADA) in the US), started legally protecting them. It seems that the use of service animals is less morally troubling than factory farm animals and experimental animals, but more morally troubling than keeping pets (if we consider it morally acceptable to keep pets), at least prima facie. However, this conclusion, if true, should be based on a more thorough analysis. This paper aims to evaluate the ethics of using service animals by analyzing various sources and philosophies. It begins by defining what we should do in relation to animals generally.

THE UTILITARIAN APPROACH

The utilitarian approach to the treatment of non-human animals has roots that go back centuries Jeremy Bentham was one of the first Western philosophers to propose that the basis of the consideration for animals should be the capacity to suffer rather than the capacity to reason In his book Introduction to the Principles of Morals and Legislation (1789), he wrote: “The day may come, when the rest of the animal creation may acquire those rights which never could have been withholden from them but by the hand of tyranny.… [T]he question is not, Can they reason? nor, Can they talk? but, Can they suffer?” This question laid the foundation for modern utilitarians.

More recently, Peter Singer is one of the most prominent utilitarians in the field of animal ethics Singer starts his argument with the principle of equal consideration of interests, which he claims to be the basic principle on which the equality of human beings rests This principle emphasizes the interests themselves, such as person A’s interest in drinking water when thirsty, or person B’s interest in seeking medical treatment when burnt These interests, regardless of the subject of interest person A or person B in the examples should be weighed equally in our moral deliberations As Singer writes, “an interest is an interest, whoever’s interest it may be” (Singer, 2016) He then argues that the scope of this principle should be extended to include nonhuman animals as well, and we should give them equal consideration of interest The reason for making such an extension,

Wikipedia contributors (n d ) Peter Singer

Singer argues, is because “the capacity for suffering [and enjoying things] is the prerequisite for having interests at all” (Singer, 2016) Since non-human animals, like humans, possess the capacity for suffering, their suffering should be given the same moral consideration as the equivalent suffering in humans This is very different from identifying linguistic or rational capacities as the morally significant distinguishing feature

To illustrate this more clearly, we can look at one of Singer’s own examples. Say we give a horse a hard slap across its rump with an open hand. The slap would make the horse start, but the horse would not feel much pain. However, if we were to slap a baby the same way, the baby would experience significant pain due to the sensitivity of their skin Suppose in some way, we make the horse feel the same

amount of pain the baby felt, perhaps by hitting it with a heavy stick Then, according to the principle of equal consideration, if we judge it wrong to slap the baby without any good reason, then it should be equally wrong to hit the horse without any good reason

Certainly, there are differences between humans and non-human animals that affect how they experience suffering, which raises the question of whether these sufferings should be given the same moral weight. Singer responds by proposing an equivalent subject-ofinterest which would eradicate these differences. For example, if we argue that human adults’ ability to anticipate the future from knowledge of the past, which animals lack, adds additional suffering for humans, then consider human orphan infants, or individuals with severe cognitive impairments. Surely these humans, who also lack the ability to foresee future pain, would experience suffering similarly to nonhuman animals. Therefore, if we consider it morally unacceptable to do something, say experiment on human orphan infants or individuals with severe cognitive impairments, then it is morally unacceptable to do the same thing on non-human animals.

To summarize, according to Singer, there is theoretically an equivalent action that could be taken toward a human with specific traits or at a particular stage ofdevelopment that matches the experience of the animal to that of the human. If so, we should assess whether that action would be morally acceptable if done to the human, and whatever moral conclusion we reach for the human should then apply equally to the animal.

“DEFECTIVELY RATIONAL”

There are two issues here First, it is impractical to find an appropriate human equivalent for every case, especially when we are discussing very specific treatments on very specific animals While we may choose to be lenient when discussing general matters, such leniency should not be applied to more specific cases, as details do in fact matter when judging human moral issues If talking about non-human primates, these differences may be somehow manageable, but when the subject turns to other non-human mammals like dogs or cats, the huge physiological differences are too large to ignore

Second, the concept of human equivalent cases is problematic As Korsgaard points out, “a creature is not just a collection of properties, but a functional utility, whose parts and systems work together in keeping him alive and healthy in the particular way that is characteristic of his kind” (Korsgaard, 2018) Take rationality as an example Rationality defines the ways a creature, or human, functions, namely that they understand reason, form certain principles, and can apply the principles to future situations A person may lack certain parts of this way of functioning, but they are still rational they are just “defectively rational ” Non-human animals function perfectly well, but without rational reasoning Humans and non-humans are fundamentally different systems We cannot simply subtract a trait like rationality from a human and then claim that this human is equivalent to a non-human animal, nor we can suggest that moral considerations for one should directly apply to the other based on such a comparison

THE DEONTOLOGICAL APPROACH

The deontological approach, particularly the refined Kantian view, provides an alternative framework to the utilitarian perspective on how we should treat non-human animals. To grasp this approach, it is helpful to begin with the original Kantian perspective, as articulated in the Humanity Formula of the Categorical Imperative:

“So act that you use humanity, whether in your own person or in the person of any other, always at the same time as an end, never merely as a means (G 4: 429).”

The Humanity Formula, as Kant presents it, tells us whom we should treat how. Essentially, persons—those who possess rational capacities—should be protected from harm and supported in their own endeavors, instead of being treated merely as a means to further, contingent ends (Müller, 2022, p. 90). Appearing highly egalitarian, this principle has a very high appeal, but it raises one obvious issue—the omission of non-human animals. The central issue, as the title of the principle itself suggests, is humanity, and is typically not attributed to non-human animals.

According to Kant, humanity refers to rational nature, or the capacity to set and pursue ends autonomously. Therefore, the prohibition against treating someone as mere means is directed at interactions involving rational beings. It is not the biological classification of human beings (homo sapiens) per se that demands respect, but rather the “humanity” within them—their rational capacities to engage in self-directed behavior and to adopt and pursue their own ends (Johnson & Cureton, 2004). Thus, it would be safe to say that the scope of Kant’s Humanity Formula is limited to finite rational beings (Müller, 2022).

Such an exclusion has been widely criticized, and two particularly influential philosophers, Allen Wood and Christine Korsgaard, have offered reinterpretations to challenge the scope of the Formula and expand it to include non-human animals.

Wood’s argument is that what is fundamental about the Humanity Formula is the expression of reverence for the value of humanity. He suggests that this reverence can and should extend to beings that exhibit fragments or prerequisites of rationality (Wood, 1998). For example, just as Christians express reverence for God through the respectful treatment of His creation, we can express reverence for rational nature by extending moral concerns to animals, who, although not fully rational, share some basic capacities with humans.

Korsgaard, on the other hand, argues that Kant’s reasoning about the value of humanity inherently implies the value of “animality”—the capacity to pursue objects of choice (Korsgaard, 2018). In her view, both rationality and animality are important for understanding what it means to be an end in itself. Therefore, Korsgaard concludes that moral consideration should not be confined solely to rational beings. Instead, it should extend to all entities capable of pursuing their own ends, including non-human animals.

Despite taking slightly different routes, both perspectives converge on the same conclusion: the extension of the Humanity Formula to non-human animals. Although vague, this provides us with some sort of guideline for the treatment of animals: never to treat them as mere means, but always as ends in themselves.

Up to this point, we have looked at how two philosophical frameworks would ask us to treat non-human animals While both are very strongly supported arguments, I will use the refined Kantian view for further examination The reason is that, for utilitarians, the value is measured by the pleasure and pain produced, which are considered the “ends” themselves, and the subjects of experience are merely locations where the pleasure and pain happen However, pleasure and pain cannot exist independently of the subjects who experience them In other words, without subjects, no pleasure or pain could possibly occur It is precisely because of the dependence of these experiences on the subjects that the subjects should be cared for. As Korsgaard puts it, “it is our fellow creatures, not their experiences, to whom we should assign moral standing, and treat as ends in themselves” (Korsgaard, 2018).

To return to the rough guideline provided by the refined version of the Humanity Formula, questions inevitably arise about what exactly it means to treat animals as “ends in themselves ” I will discuss this in length in the next section of the paper, in the context of service animals

ARE WE TREATING SERVICE ANIMALS AS ENDS IN THEMSELVES?

Before determining the ethical implications of the use of service animals, it is helpful to understand the nature of the service animal’s “job ”

Service animals, as defined by the Americans with Disabilities Act, are dogs or other animals that are individually trained to do work or perform tasks for people with disabilities ( U S Department of Justice Civil Rights Division, 2020 )

Service animals vary greatly in what they are trained to do , but the most common kinds include:

Guide Animals, which help people that are visually impaired to navigate in public.

Hearing Animals, which help people with hearing loss by alerting them to important sounds, including doorbells, smoke alarms, telephone rings, and people calling the handler’s name

Psychiatric Animals, which help people with certain mental diseases like PTSD by picking up signs and symptoms of oncoming panic attacks, giving handlers their medication when attacks are happening, distracting and calming the handler, and alerting others for help if they sense danger for their handler

Medical Emergency Animals for people with epilepsy, which detect the onset of seizures and help handlers stay safe during the seizures

Puppies that are to become service animals are initially taken care of by volunteer families, then, at the age of 14-20 months, returned to a training site where they are housed in kennels and undergo professional training for 3-4 years Then, after passing a test, they are sent to handlers in need When they reach a certain age, they retire from their job and are given to another foster family (Hall et al , 2021)

The idea of the refined version of the Humanity Formula forbids using another creature as “mere” means, not using another creature as a means at all. A rudimentary account of what differentiates using someone as “mere” means and using them asmeans in a morally permissible way, is often tied to the presence of informed and uncoerced consent (Korsgaard, 2011) However, we simply cannot get the informed and uncoerced consent from service dogs Dogs cannot verbally express their willingness or refusal to perform tasks, nor can they “opt-out” of the training they undergo from a young age According to this criterion, the use of service animals at all would be impermissible However, this argument is flawed, because there are situations, even involving humans, where obtaining informed and uncoerced consent is impossible Consider, for example, the case of a doctor performing CPR on an unconscious person who had experienced drowning Considering this action as impermissible due to lack of consent is implausible The absence of consent does not automatically render an action impermissible; rather, the context justifies it

A refined version of the rudimentary account might suggest that treating animals in ways they would consent to, if they could, does not constitute using them as mere means This raises a new question: what would animals consent to if they could? We will try to address this question by looking at different aspects of a service animal’s life and attempting to discern if they might consent to it

THREE STAGES

The training process

The training of dogs, whether for service purposes or as pets, has a long history of classical and operant conditioning techniques While positive reinforcement has played an increasingly important role in recent years, it is often noted that punishment can play a more potent and effective role in dog training In his Handbook of Applied Dog Behavior and Training, Lindsay (2013) argues that successful training requires the animal to be in a “state of need” that can only be satisfied when a dog behaves in a predetermined manner It is almost intuitive that dogs would prefer not to be punished (or deprived of food), but one might object by drawing an analogy to children attending school Despite continuing efforts to improve the educational system, projects, homework and exams are still inseparable parts of going to school that children often do not like Nonetheless, children may still consent to going to school because to some extent, they understand that the knowledge they learn could be useful in the future, helping them lead a good life

This objection, however, fails when applied to dogs, as they do not possess an understanding of “purpose” in the way that children do Children, though not fully cognitively developed, can at least be informed of the purpose of learning, and may consent to it, even if their understanding is limited (of course, I do not say that all children do so, which is why I say “may”) Dogs, on the other hand, can not possibly be told about the future intentions of their training From their perspective, they are following , sometimes through force , the instructions of a person to do various seemingly random tasks They do so to survive, not necessarily because they have agreed to or want to

The career

A popular idea is that, though the training process may be somewhat tough, at least the dog lives a happy life when they “graduate” and begin working with their handler. This is because people believe that because of their long history of domestication, dogs are naturally attuned to interacting with people and enjoying these interactions Also because of the history of people domesticating dogs to assist them in some ways (e g , sheepherding), people believe that dogs enjoy having a task, an assignment, a mission, and derive satisfaction or fulfillment from it, leading a meaningful life

Nevertheless, while evolutionary forces may have shaped dogs to have some sort of genetic composition that makes them less afraid of humans or more malleable in character, this does not mean they are genetically pre-disposed to “enjoy” the work they are given In fact, many of the socio-cognitive skills that dogs possess are heavily influenced by their early interactions with humans (Benz-Schwarzburg et al , 2020) Due to this significant influence of dogs’ early experiences, it is also unclear whether the happiness observed in working dogs is due to genuine enjoyment, to fear of punishment, or to an adapted nature that tends to favor these tasks as some sort of survival mechanism

The retirement

When the service dog reaches a certain age, or begins to show signs that it can no longer perform its duties, it will retire and be sent to another family Ideally, the dog would then be living a happy and peaceful “dog life,” but this is often not the case Up to this point, service dogs have practically been “working” all their life, whether they chose it or liked it or not They have grown accustomed to their roles and may have developed a close relationship with their handler However, service dogs are abruptly separated from their handlers and jobs

It is clear that a recurring theme throughout the life of a service dog is the lack of freedom specifically, the absence of opportunities and choices Ethicists have differing opinions about whether or not freedom should be a relevant moral concern for animals Some have argued that since animals have a merely instrumental but not intrinsic interest in freedom, animal freedom is not a relevant moral concern in itself (Cochrane, 2009), while some have argued the contrary, that freedom is non-specifically instrumentally valuable for animals, and should be an important concern (Schmidt, 2015) What is certain is that freedom, specifically in terms of having choices and opportunities, is of at least some moral weight to the animals, and in the case of service dogs, this is a troubling issue.

If the dog were a pet, it would be deprived of one opportunity: the choice of its owner (assuming the owner remains committed to the pet). If the dog became a service animal, however, it would be deprived of five opportunities: the choice of its first foster homeowner, its trainers, its handler(s), its final foster family, and the job it will perform If the dog was selected from a shelter, the number of prevented opportunities could be even greater The physical and emotional strain these changes and unavailable opportunities place on the dog make it highly unlikely that the animal would consent to such conditions if it had the ability to do so

PETS INTO THE DISCUSSION

In discussing service animals, some inclusion of pets, specifically dogs as pets, seems necessary In terms of “utility,” while service animals provide specific servicesfor the disabled, pets provide companionship for owners. Thus, both have some kind of instrumental value If we consider pets in the same way as we have done for service animals, we may reach a similar conclusion, that dogs would not consent to their role as pets that are being used as mere means to an end Therefore, the practice of keeping pets becomes morally impermissible

The ethics of pet-keeping has been widely discussed, with many philosophers arriving at a similar abolitionist conclusion Irvine (2004), for example, argues that the moral status of pets depends on the way society defines the humananimal boundary in different time settings, rather than their inherent value In the Middle Ages, petkeeping was primarily seen among the nobility and religious elites, who could afford to defy the Church’s prohibitions against close relationships with animals As society evolved, petkeeping became more common, and pets started representing domestic life, an important idea in the wave of urbanization The link between pets and social status persisted, however Purebred animals symbolizedwealth and prestige Because petkeeping is a socially constructed practice rather than a result of natural affinity between humans and animals, Irvine says that we have neglected the inherent value of our companion animals, and should, therefore, abolish all such practices, since we cannot find any reason to justify petkeeping throughout history

Francione (2004) makes the broader argument that the status of animals as property makes it impossible for us to take animal interests seriously While “unnecessary suffering” inflicted upon animals is generally viewed as unacceptable, or even illegal, the concept of necessity is a blurry line that could have various interpretations in different scenarios Even if welfare acts try to promote more humane treatment of animals, their property status

predetermines that their “interests will almost always count for less than one,” making any treatment of them acceptable as long as there was some sort of purpose, or “greater good” behind those actions Therefore, Francione concludes that to take animal interests seriously, animals must have the right not to be treated as property For such a right to be implemented, all use of animals as some sort of resource, including pets, should be abandoned

If, as has been argued, the use of service animals and even the practice of keeping pets is morally unacceptable, what follows? Some philosophers, including the aforementioned authors, suggest that we should abolish these practices, yet these arguments usually stop here. Abolish, or cessation, what exactly do we do? Do we throw our dogs onto the streets? Abolitionists might concede that this would be unnecessary, as we have already brought them into our lives and given them roles as pets or service animals But what about future generations? Do we sterilize all dogs we have access to in order to prevent them from reproducing until they go extinct? Or do we leave them in the wild to let nature determine their fate, until they either un-domesticate or naturally decline due to the long-term domestication which resulted in lack of independence? We do not necessarily have answers to these questions. Thus, the abolitionists’ plan cannot be taken seriously until they have provided some sort of more elaborate response

In this discussion, two further points should be made regarding humans who take part in these practices While our consideration tends to focus more on animals themselves in these discussions, it would be impossible to totally neglect humans, as the human-animal relationship plays an important role in all discussions, and humans are an integral part of that relationship

First, regarding service animals specifically, the privacy of the handlers should be considered If we replace all service animals with humans, the disabled would have almost no privacy. While that is the case for some very elderly people who have completely lost the ability to take care of themselves and must rely on others for nearly every aspect of life, from getting out of bed, eating, taking showers, etc , at is often not the case for the “original” users of service animals These users often have only one specific disability,

such as blindness, PTSD, hearing deficiency, and are relatively “self-functioning” in other parts of life While both the service animal and the hypothetical caregiver would inadvertently take part in other parts of the person’s life, the difference lies in the mindset of the person being cared for Animals are less likely to cause humans “mental burdens,” since the animals help bridge the gap between the person’s need and the person’s ability to navigate the world in a way that is minimally intrusive to the person’s individual space and autonomy However,around other people, disabled people are naturally inclined to feel a sense of shame or embarrassment. The existence of their disability is already a source of such feelings, and the fact that another person must assist them because of this disability could intensify the shame or self-consciousness

Second, regarding all owners of dogs generally, a genuine emotion of respect and family often arises from owners What makes discussions regarding dogs particularly tricky and worthy of separate consideration with regard to animals as a whole, or other uses of animals like factory farming, and experimental animals, is precisely this mutual sense of companionship or affection that is established between human and animal While dogs’ status de jure may be problematic, their status de facto, as perceived by their handlers, could be completely different It would not make sense to deprive people of such meaningful bonds (or potential ones) without giving them even a chance to adapt their practices to a (potentially) morally more acceptable one

While I have argued the current practice of service animals is not treating them as ends in themselves, and as others may have argued the same for pets, this does not mean that no further modification could be made to make such practices morally sound

Thus, my conclusion or solution is neither doing nothing nor completely abolishing the use of animals In the bigger picture, I believe some sort of change in our legislative framework and practical practices ought to be made Some suggestions have been adopting a new, limited form of selfownership in animals (Favre, 2000), or changing the ownerproperty relationship into the guardian-dependent relationship, which has already been implemented in some states in the US An absolutely satisfactory result has yet to be found, but I am optimistic about future proposals For service animals in particular, I propose a more consentbased approach Methods should be developed to determine the animals’ willingness to participate in training and work, with observation processes beginning as early as possible to give the animal some sort of “voice” in their fate During formal training, animals could also be trained to communicate their readiness to work through specific behaviors such as touching a designated object These “communications” ought to be respected through the establishment of a reasonable feedback mechanism to adjust the training pace and methods accordingly

CONCLUSION

In this paper, I first reviewed two ethical positions utilitarianism and deontology regarding how we should treat non-human animals, along with their justifications I argued that choosing the deontological framework is more suitable for assessing specific cases of the use of animals due to its respect towards the subject-of-experience Using the refined Kantian view (namely, never to treat creatures as mere means but always as ends in themselves), I established a criterion for the moral permissibility of using animals : it would be acceptable if the animals would consent to their use, if they could I then examined the use of service animals across three life stages, identifying issues at each stage that make it unlikely for the animals to give such consent Therefore, I conclude that the use of service animals is morally questionable I further my discussion with a brief discussion on pets, which leads us to question of whether even the seemingly most benign “use” of dogs can be morally justified However, what follows from these conclusions is unclear I reject the abolitionist point of view , and advocate for future solutions that attempt to resolve this dilemma through legislation or changes in common practice.

BIBLIOGRAPHY

Benz-Schwarzburg, J , Monsó, S , & Huber, L (2020) How dogs perceive humans and how humans should treat their pet dogs: Linking cognition with ethics Frontiers in Psychology, 11, 584037 Cochrane, A. (2009). Do animals have an interest in liberty? Political Studies, 57(3), 660-679.

Davis, J M (2015) The history of animal protection in the United States The American Historian, 3(1) Favre, D (2000) Equitable self-ownership for animals Duke LJ, 50, 473 Francione, G L (2004) Animals--property or persons?

Hall, N J , Johnston, A M , Bray, E E , Otto, C M , MacLean, E L , & Udell, M A (2021) Working dog training for the twenty-first century Frontiers in veterinary science, 8, 646022 Irvine, L (2004) Pampered or enslaved? The moral dilemmas of pets International journal of sociology and social policy, 24(9), 5-17

Johnson, R , & Cureton, A (2004) Kant’s moral philosophy Kerstein, S (2019) Treating persons as means Korsgaard, C M (2018) Fellow creatures: Our obligations to the other animals Oxford University Press Korsgaard, C. M. (2011). Interacting with animals: A Kantian account. Lindsay, S R (Ed ) (2013) Handbook of applied dog behavior and training, procedures and protocols (Vol 3) John Wiley & Sons

Müller, N D (2022) Kantianism for animals: A radical Kantian animal ethic (p 245) Springer Nature Regan, T. (1987). The case for animal rights. Advances in Animal Welfare Science1986/87, 179-189.

Schmidt, A T (2015) Why animals have an interest in freedom Historical Social Research/Historische Sozialforschung, 92-109

Serpell, J A , Coppinger, R , Fine, A H , & Peralta, J M (2010) Welfare considerations in therapy and assistance animals In Handbook on Animal-Assisted Therapy (pp 481-503) Academic Press Singer, P (2004) Animal liberation In Ethics: Contemporary Readings (pp 284-292) Routledge Singer, P (2016) Practical ethics In The Animal Ethics Reader (pp 62-71) Routledge

Vanak, A T , & Gompper, M E (2009) Dogs Canis familiaris as carnivores: their role and function in intraguild competition Mammal review, 39(4)

Wood, A W (1998, June) Kant on duties regarding nonrational nature: Allen W Wood Aristotelian Society Supplementary Volume, 72(1), 189-210 University College London: The Aristotelian Society

Understanding the Recent Interest Rate Cut: What It Means for You

By Steve

1. Introduction

Have you noticed how prices at the grocery store seem more stable lately, or maybe your bank just offered you a slightly better loan rate? These everyday changes are linked to decisions made by the U.S. Federal Reserve, the country's central bank. In September 2024, the Fed announced a significant change: it reduced the federal funds rate by 0.50%, bringing it down to a range of 4.75% to 5%.

This is a turning point, as it’s the first time the Fed has cut interest rates since the early days of the COVID-19 pandemic. Terms like “interest rates” and “inflation” may sound far away and technical, but they affect the loans we take, the jobs we apply for and even the price of things we buy every day. In this essay, we’ll explore why the Fed did this, what it means to you on the street and how this is going to challenge us in the coming weeks ahead.

2. Why Do Interest Rates Matter and What Are They?

Interest rates are a bit of an abstract financial jargon, but they have a big impact on our daily life. In other words, an interest rate is just the cost of borrowing money or saving money. If you take out a loan, whether it’s a mortgage, car loan, or credit card debt, you pay interest on what you’ve borrowed. On the other hand, banks will pay you interest if you leave your money in savings accounts.

One of the Fed’s most powerful tools is interest rates, and the Fed uses them to try and steer the economy. Interest rates are raised by the Fed when inflation is high: that is, when the prices of goods and services are rising rapidly. Borrowing, as I said, is expensive, and higher rates mean consumers and businesses spend less, that helps cool down inflation. However, when the economy is slow, the Fed pulls its rates back and cuts rates so that it’s easier for loans and more people get involved in spending, better investing for business. These small percentage changes can have an enormous knock on effect to the entire economy and everything from the labour market to housing.

3. The Recent Decision to Cut Interest Rates

On September 18, 2024, the Federal Reserve announced a 0.50% reduction in its benchmark interest rate, lowering it to a range of 4.75% to 5% This decision marked a shift from the Fed’s recent policy of keeping rates high to combat inflation, which had reached 40-year highs in 2022. The motivation behind this rate cut reflects the Fed’s acknowledgment of two major trends: inflation and rising unemployment.

It has slowed dramatically down; the annual Consumer Price Index is now just 2.5 percent in August of 2024, down from 9.1 in mid 2022. Unemployment has risen to 4.2%, however, indicating that businesses are scaling back hiring at the same time. With these changes, the Fed thought it was time to help borrowers by cutting rates to stimulate the economy. The 0.25% adjustments are the usual, but this cut was larger, indicating an effort to proactively support the economy.

More than a year of aggressive rate hikes to tame inflation have followed the rate cut. It is the first rate cut since 2020 and a change in priorities, from fighting inflation to supporting economic growth as signs of a slowdown emerge.

4. Will the Fed Bring It Down in the Nearest Future?

Has the September 2024 rate cut raised the question whether the Federal Reserve is done cutting interest rates in the near future?

Decisions by the Fed are based on a number of factors including inflation, unemployment and economic stability beyond the borders of the U.S. Many analysts expect more cuts to follow as inflation has cooled, dropping closer to the Fed’s 2% target, and unemployment has risen to 4.2%. If the economy is weak, Fed officials have hinted they might cut further. More will be known about the Fed’s next steps at the November and December 2024 meetings. If the slowdown continues, some economists expect the federal funds rate to dip below 3.5% by year’s end. But the Fed will probably tread carefully to stay away from supercharging the economy, which could spark inflation back. The Fed’s decisions may also be affected by uncertainty in global markets and geopolitical events. If the economic outlook worsens around the world, the Fed might get more aggressive, and if the signs of resilience linger, more cuts could be delayed. That means rate changes will continue to depend on how domestic and global conditions evolve.

5. What Will This Change Mean for Ordinary People?

Some of the impacts of the Fed’s recent decision to cut interest rates will be felt by borrowers and businesses, but some will bring relief. This rate cut will be a good thing for the people who have loans – such as the mortgages, car loans and credit card debt. Say you’re going to buy a house, the interest rate on your mortgage could be slightly lower, making homeownership a little more affordable. Likewise, credit card users facing smaller increases in their balances may find it easier on family budgets.

Lower interest rates also benefit business. Companies borrow less often and pay less for it, which means they tend to invest more in new projects, expand operations and hire more workers. In the long term, it could also help to raise employment and wages in a way that can counteract recently rising unemployment. More easily available loans for would make it easier to grow for entrepreneurs or small businesses.

Interest rates directly affect the cost of borrowing for consumers and businesses.

6. Potential Outcomes and Challenges

The rate cut, however, will provide a little relief to borrowers in the short term, but it may take time to bring about substantial economic improvements. The Fed's action says it believes growth is supported, and there will be some relief from the uncertainties caused by foreign economies and the crowded housing market immediately. In addition, if consumers and businesses remain worried about the economy’s continuing stability, there is a chance that they will be reluctant to borrow.

The Fed’s future moves will be important to look ahead. More rate cuts could follow, if inflation stays low and unemployment continues to climb with meetings scheduled for November and December 2024. Rates could slide below 3.5% by the end of the year if economic conditions deteriorate, according to analysts. Of course, interest rate decisions of U.S. also affect other countries' economy through the currency exchange rates and International trade.

7. Conclusion

The recent decision by the Federal Reserve to cut its interest rate, however, represents a sea change in economic policy, as it attempts, in light of the battle between controlling inflation and supporting growth, to carry more weight. This change has both opportunities and challenges for ordinary people. That means borrowers could pay lower monthly payments, covering the cost of home, cars or major purchase, and businesses might get cheaper loans to invest and grow. But savings returns continue to fall, and there are still economic uncertainties.

The Fed’s actions will continue to determine the economy in the coming months. And, with more rate cuts likely later this year, Americans should keep an eye on what is happening with these decisions and how they might affect their financial planning. The good news is that whether we see a quicker economic recovery or new obstacles, understanding how interest rates affect our everyday life will help people make smarter financial decisions in the future.

Saving money in a highinterest account can help grow your wealth over time.

Recent inflation developments in the euro and American area

Inflation is the general increase in prices of goods and services that people use every day Although individual inflation phenomena may not be noticed by ordinary people, as a whole it shows whether people are better off buying goods and services than they were in the previous year.

Monetary policy plays an effective role in managing inflation. Central banks, such as the European Central Bank (ECB), take measures to control inflation like adjusting interest rates In times of of high inflation, central banks might increase interest rates to cool down the economy by making borrowing more expensive, so investment may reduce. Conversely, during periods of low inflation or deflation, lowering interest rates can stimulate economic activity.

The ECB sets a goal to maintain a 2% inflation rate in order to avoid deflation risks and ensure that monetary policy remains effective. This can reduce excessive unemployment and eliminate possible biases in price measurement.

Services inflation is the core inflation cause, with that of both economics being considerable. In recent years, services inflation has been higher in the US compared to energy—peaked at 6.6% in September 2022 before declining to 3.8%

in February 2024. In the euro area, it peaked at 5.7% in March 2023, and fell to 3.1% in February 2024. Over recent years, services inflation has been stronger in the United States than in the euro area.

Rent inflation is responsible for over half of services inflation in the U.S., where core inflation for services is greater than its pre-pandemic mean of about 2%. In the eurozone, rent inflation is lower and its contribution to

services inflation is much smaller.

The inflation is mainly caused by two points listed below.

First, the inflation could be demand-pulled. This occurs when demand for goods and services exceeds supply. Prices rise as demand exceeds supply, since more money is used on the same quantity of goods.

Supply chain disruptions can also have a significant impact on inflation. Price disruption can occur when a shock disrupts the flow of goods and services. This happens due to events that disrupt the operation of supply chains, such as geopolitical conflicts. These

disruptions may result in price increase and item shortage. The COVID-19 pandemic demonstrated the potential of global supply chain disruptions to lead to significant inflationary pressures This scenario was typically seen in cold days in Europe when they have trouble in getting gases from Russia, which is at war.

REFERENCES:

“Recent inflation developments and wage pressures in the euro area and the United States”, link: https://www.ecb.europa.eu/press/economicbulletin/focus/2024/html/ecb.ebbox202403_01~05bd9f79 1d.en.html

“Inflation and consumer prices”, link: Inflation and consumer prices (europa.eu)

by Weather

THE SAUNDERS-ROE PRINCESS

D E S I G N A N D D E V E L O P M E N T

In 1946, two years after World War II, the United Kingdom stood on its aeronautical achievements during the war and looked to the future of aviation with grand aspirations. The Saunders-Roe Princess was a product of this golden post-war period a product which combines the elegance of ocean liners and the technological advancements of the aeronautic industry. The British government funded SaundersRoe to construct the world's largest flying boat, and it was a decision of intent: Britain would not only compete in the market of international air travel but upgrade it with its latest technology.

Figure 1 Data of Saro Princess

THE SAUNDERS-ROE PRINCESS

INNOVATIVE APPROACH TO DESIGN

The Princess's design team, led by the visionary engineer Sir Arthur Gouge, applied nearly all available technology at that time while constructing the aircraft. Each curve and contour of the aircraft's hull has been meticulously crafted to minimize drag and maximize lift. The wing design could support its massive structure while providing enough lift at the lower speeds of seaplane operations. In the first month of 1947, an elegant, high-wing monoplane with a boatshaped hull that could slice through air and water alike appeared on the blueprints.

MATERIAL MASTERY AND CONSTRUCTION TECHNIQUE

The huge aircraft with a 219.6ft wingspan posed significant challenges not only in design but in the choice of materials and construction methods. Aluminum alloys, which had been proven during the war for their strength-to-weight ratio, were selected as the primary material for the aircraft's structure. The construction of the Princess required precise engineering and innovative assembly techniques, some of which were borrowed from shipbuilding, then adapted and refined for applications on a flying boat. In that era before computer-aided design and manufacturing, the creation of an aircraft was complex, compound curves required a mastery of craftsmanship that pushed the boundaries of what was possible. The use of riveted and bonded aluminum skin panels over a skeleton of frames and stringers allowed for a lightweight yet strong structure, capable of handling the stresses of both maritime and airborne environments.

THE SAUNDERS-ROE PRINCESS An Engineering Marvel From The Golden Age

POWERPLANT SELECTION AND CONFIGURATION:

The engine choice was the Bristol Proteus turboprop: the most efficient turboprop that time. Although the project faced numerous twists, the Princess was finally equipped with the experimental version of Proteus 3 as its source of power. These engines were arranged in four paired units, along with two independent ones on the outer wings. Within each coupled unit, the engines jointly drove contra-rotating propellers, aiming to maximize thrust while effectively counteracting the torque produced by the powerful engines. This complex engine layout required precise gearbox design and extensive reliability tests. Nevertheless, once proved the engine design was operational, it could provide the Princess with the power needed to achieve its expected cruising speed of approximately 350 mph. This was remarkable for a flying boat under that technological context.

Figure 2 Powerplant which is Bristol Proteus 3

THE SAUNDERS-ROE PRINCESS

AERODYNAMIC AND HYDRODYNAMIC

The design had to be optimized for both aerodynamic and hydrodynamic performance due to its position as a seaplane. The aircraft's hull was shaped to reduce water drag during takeoff and landing, with a flared bow to manage spray and a step to assist in breaking free from the water's surface. The wing roots and nacelles were meticulously designed to prevent water from being ingested into the engines--a critical consideration for safe maritime operations.

Meanwhile, the Princess's high aspect ratio wings provided the necessary lift, and the use of fullspan flaps aided in low-speed control during takeoff and landing. The design of the wing must also take into account the floatation and balance effects when on water, leading to a careful calibration of buoyancy and center of gravity throughout the design.

Figure 3 Structure of coupled Proteus engines

Figure 4 Shape of fuselage

THE SAUNDERS-ROE PRINCESS

S Y S T E M S A N D F E A T U R E S

AIR CONDITIONING SYSTEMS

The Saunders-Roe Princess also has a sophisticated air conditioning system that was ahead of its time. This system was designed to ensure passenger comfort, regardless of the external environmental conditions. Nowadays, the system seems to be usual. However, at that time, it was only occupied in few luxury liners. It had a complex arrangement that involved mixing recirculated air with fresh air at the ratio of 2:1 at cruising altitude. The air was passed through Vokes filters and propelled by four centrifugal fans, ensuring a comfortable breathing environment within the cabin.

The system was flexible: capable of maintaining a cabin’s temperature ranging from 18 to 29 degrees Celsius and a relative humidity between 30 and 70 percent. The nuanced control allowed for adjustments to be made depending on the number of passengers and the climate conditions encountered during flight. This level of atmospheric control was groundbreaking in commercial aviation and demonstrated an understanding of the importance of environmental comfort in defining the passenger experience.

ANTI-ICING SYSTEMS

The Princess approached icing problems with a multipronged strategy. For the wings, the aircraft used hot air from the jet tailpipe cooling shrouds to prevent the formation of ice. This hot air was channeled along the leading edges through a distribution manifold, where it would warm the surface through conventional corrugated plating before being exhausted overboard, keeping critical flight control surfaces clear of ice.

THE SAUNDERS-ROE PRINCESS

S Y S T E M S A N D F E A T U R E S

The tail anti-icing system was vested in a pair of Lucas kerosene-burning combustion heaters, each capable of an output of 400,000 BTU per hour. These heaters, variants of Lucas film-cooled combustion cans used in gas turbines, acted as heat exchangers, keeping the combustion products separate from the anti-icing airflow, thus preventing corrosion.

The anti-screws (propellers) were protected using an electric cyclic de-icing system developed by de Havilland. The system worked by cyclically heating the blades, four at a time, in a pattern that maintained deicing efficiency while managing power consumption.

THE ELECTRICAL SYSTEM

The electrical system had a total generating capacity that surpassed any of its contemporaries. The system comprised four 39 kW generators at 120V, along with two 6 kW generators at 24V, ensuring that all power needs were met, from lighting to the operation of the air conditioning and anti-icing systems mentioned previously.

The power was generated via accessory gearboxes on the coupled engine units. The generated electricity was then distributed through port and starboard generator busbars to respective distributor busbars, from which all services were taken. This setup ensured redundancy and reliability, which were critical for the safety and operational integrity of the aircraft.

THE SAUNDERS-ROE PRINCESS

S Y S T E M S A N D F E A T U R E S

THE FUEL SYSTEM

Despite the aircraft's complexity, the Saunders-Roe team kept the fuel system straightforward. The system comprised pairs of fully submerged booster pumps, each with a nominal capacity of 400 gallons per hour, installed in each of the aircraft's four fuel tanks. These pumps delivered fuel to a common outlet leading to the low-pressure cock in each engine feed line, ensuring a steady and reliable fuel supply.

Flowmeter transmitters were installed between each low-pressure cock and its respective engine, providing accurate fuel flow data to the pilots. High-pressure cocks were mounted directly on the engines, as per conventional practice. The cross-feed system allowed for the management of fuel between tanks, increasing flexibility during flight operations.

Each tank was equipped with transfer pumps, identical to the booster pumps, which fed into the cross-feed line. The delivery was controlled by a transfer cock in each outlet, and alongside each transfer outlet was a flowmeter transmitter. A crossbalance cock was centrally located in the cross line, and two fueling connections on the port side of the lower deck facilitated refueling operations.

THE SAUNDERS-ROE PRINCESS

THE SAUNDERS-ROE PRINCESS

THE SAUNDERS-ROE PRINCESS

O P E R A T I O N A L

H I S T O R Y A N D

L E G A C Y

The Princess had its first test flight on August 22, 1952, after 6 years’ development. It was an event that marks the successof the overall design. The aircraft was piloted by Chief Test Pilot Geoffrey Tyson, who, along with his crew, would begin the process of validating the design and performance of this aviation leviathan.

Over the next few years before being scrapped, the Princess prototype, G-ALUN, only completed a total of 46 flying hours across 9 test flights. These flights were crucial in providing data on the handling characteristics, operational performance, and system functionality. The test pilots reported that the aircraft handled well both in the air and on the water, and the performance generally met the expectations set during the design phase.

Figure 6 Photo showing Geoffery Tyson staring at the Princess

THE SAUNDERS-ROE PRINCESS

GAINS AND SHORTCOMINGS

The performance metrics obtained from the test flights were promising. The Princess demonstrated stability of control, with a cruising speed that approached the design target: 360mph. However, the range was somewhat shorter than anticipated 5500 miles due to higher-than-expected fuel consumption. Even so, the aircraft showcased the potential for longrange maritime air travel, with the ability to carry up to 105 passengers in luxury comparable to the finest ocean liners.

Technical issues did also arise for the Princess. Some of the complications included the challenge of maintaining the complex engine configurations and the need for further development of the anti-icing systems. While none of these were disastrous, they added to the delay in bringing the aircraft into full service.

CURTAILMENT OF THE PROGRAM

TBy the mid-1950s, the world of aviation was undergoing a rapid transformation. The appearance of long-range land-based jet aircraft, such as the de Havilland Comet and the Boeing 707, symbolled a shift in commercial aviation preferences. These jets offered faster travel times and did not have the operational constraints of flying boats, making them more attractive to airlines.

THE SAUNDERS-ROE PRINCESS

In the face of this changing situation, the British Ministry of Supply made the decision to cancel further development of the Saunders-Roe Princess in 1956. The one fully completed and the other two partially completed aircrafts were scrapped while none of them ever entered commercial service. This decision was not a reflection of the Princess's capabilities but rather a recognition of the shift in market dynamics and the emergence of more economical and practical jet aircraft.

CONTRIBUTIONS

The Saunders-Roe Princess had a short life. It, however, left an indelible mark on the field of aeronautic engineering. It demonstrated the feasibility of large-scale flying boats powered by turboprop engines and the potential for luxury air travel over the oceans. The engineering challenges overcome during its development contributed to a body of knowledge that would benefit future aircraft designs.

The Princess's advanced systems, particularly its air conditioning and anti-icing mechanisms, offered solutions for future aerospace designs. The lessons learned in balancing the hydrodynamic and aerodynamic needs of such a large seaplane would be applied in other marine and aerospace applications.

It also embodied the post-war spirit of innovation and the desire to push the boundaries of what was technologically possible. The Princess's story is a reminder of the importance of audacity in engineering--even if a project that doesn’t fully achieve its intended goals, it can still advance the state of the art and inspire future generations.

THE SAUNDERS-ROE PRINCESS

The Saunders-Roe Princess was a bold step into the future of aviation, a giant born out of the optimism and technological ambition of the post-war era. With its sophisticated design, cutting-edge systems, and pioneering spirit, the Princess represented the peak of flying boat development. It was an aircraft that promised to revolutionize air travel, offering levels of luxury and performance that had been previously unattainable.

Yet, the Princess was also a product of its time, caught between technological eras. It arrived at a moment when the industry was pivoting towards faster, more efficient jet travel, and therefore it failed to give play toits commercial potential. The decision to halt its development was a pragmatic one that the government made to save their fundings, but it also marked the end of an era for seaplanes.

The Saunders-Roe Princess's impact on aviation should not be underestimated. It paved the way for future innovations. The Princess's story is a poignant chapter in aviation history, embodying not just the dreams of its creators but also the relentless pursuit of progress that drives the field of engineering. People are always reminded of the lessons it taught--the importance of adaptability, the pursuit of excellence, and the undeniable value of reaching for the seemingly impossible.

Western musical elements in Kun Opera performances

[abstract/introduction]This essay will discuss the usage of Western musical elements in the Music of Kun Opera performances by analyzing two recent plays created by Jiangsu Province

Kun Opera Theatre in China. Composers in the 21st century have been trying to integrate Western musical elements into Kun Opera music traditions as an innovation to enhance the overall effect of Kun Opera plays. They are integrated to connect different scenes, enhance narrative function, and attract modern audiences Usually, there are two situations when Western musical elements are involved: existing independently and overlapping with the traditional arias. In the former situation, themes, variations and different choices in chords are used in a free way to enhance the expression of the story. in the latter one, Western elements function as an enhancement for the expression of traditional arias This essay will contain a score analysis of a few typical examples of recently made Kun Opera plays and will reflect on the influence and value of the innovation of Western musical elements

[Background]Kun Opera (昆曲), a type of traditional Chinese opera, developed in the 14th century, Ming Dynasty China. Ameliorating different singing styles in Southern China and adapting some Northern performance traditions (Gu 2020, 4-5), Liangfu Wei (魏良辅), an ambitious and talented musician, developed the singing style of Kun Opera and added a new set of accompaniment instruments to it (Wu 2002, 327). In the early 1600s, Kun Opera “became a nationally popular form of operatic entertainment.” (Ng 2024, 1) Writing full Kun Opera plays, which usually contained dozens of scenes, had been a popular trend among literati However, after the early 1800s, the trend waned, and fewer new plays were written Kun Opera became a practice among folk artists, who, in order to develop the genre without new plays, selected the best scenes from full plays and elaborated them, and this practice

became a new tradition (Zhang 2009, 12). Thus, the most exciting scenes were passed down while others were lost In the 20th century, Kun Opera struggled and thrived for several times due to turmoil and opportunities In the 21st century, more attention was paid to Kun Opera due to its designation by UNESCO as the Masterpiece of the Oral and Intangible Cultural Heritage of Humanity (Wu 2002, front matter). As a result, audiences’ demand for watching full plays increased. Full plays are revised, and sometimes new music is added.

Developed for hundreds of years, Kun Opera has its own tradition in music The arias, or qvpai (曲牌), are the main singing parts. Their melodies are composed according to the intonation of each Chinese character in order to help the audience understand the lyrics (Gu 2020, 37). Thus, the melody composition of arias highly depends on phonology and literature. This feature can also be reflected by the notation system, gongche score (工尺谱).

1 1 an example of gongche score (Yu 2020, 117)

In Western notation systems, lyrics are fitted into the measures to match the rhythm and melody However, in Kun Opera, notes are fitted into the text For the accompaniment of these arias, the percussion part is light, indicating the meter and informing different occasions in the plot Bangu (板鼓), a type of drum, is the core of the percussion section and plays the role of a conductor (Gu 2020, 191-192) Qvdi (曲笛), a type of transverse flute, plays a main role in enhancing the melody. It follows the same melody as the aria, adding some ornamentations on certain notes. Other traditional woodwind and string instruments also follow the melody line, sometimes adding countermelodies These instruments altogether create a heterophonic or monophonic texture

Though effective and expressive, the music traditions cannot fulfill all the demands of the 21st century There are three main reasons why Western elements are added to Kun Opera performances First, they are used to compensate for the loss of connection between scenes in full plays as mentioned before, only a few of the scenes are passed down from a full play, so musicians compose new music to fill the gaps and make the plot smooth. Second, Western musical elements are used to create better sound effects and greater affinity in large modern theaters, since the projection and strength of the traditional instruments make it hard to fill up the air of an enormous theater Last, Western musical elements can make Kun Opera appealing to audiences with modern music aesthetics: most audiences today have grown up with myriad Western music pieces, such as pop songs, the background music of Western movies, and classical pieces Thus, they are more familiar with Western chord progressions rather than the traditional heterophonic texture

This paper examines how composers smoothly integrate Western musical elements into traditional music In order to fulfill the goals mentioned above, composers need to involve Western elements in Kun Opera while at the same time maintaining the original flavor of Kun Opera music. The huge differences between the music traditions of Kun Opera and Western music make it hard to combine the two things together. First, as mentioned before, the melody of Kun Opera is based on the intonation of different Chinese characters, while Western music is rather independent from the language in which themes and motifs are the base of the melodies This might be caused by Chinese being a tonal language and most Western languages being non-tonal. Also, Western music contains chords that establish the progression of music. Another difference that composers might have taken into account is, Western classical music pieces are usually composed by individual musicians, while traditional Chinese music pieces are usually composed with cooperative work of different types of artists In the world of classical music, the authorship is clear Performers make their own expression of music strictly following notation by the composers. In China, usually, there are two related traditions: “a relatively small, elite tradition of the scholars, and a larger more popular tradition of the common people (Alan 1985, 4) ” The elite, which are also called the literati, usually have a comparatively unified tradition, while common people recreate the music according to their local traditions and aesthetic preferences. Thus, for most Chinese music pieces, the authorship is usually vague, and music is made through all different changes by countless folk musicians. In order to combine the two types of music, contemporary Kun Opera musicians combine the two ways of creating music together They have a completed score to follow, and they recreate it during practice, marking the changes on the score. This way of composing brings huge flexibility to the work.

1.2 Some recreations during practice

In order to explore the Western musical elements in Kun Opera, I will focus on two works: (1)

Qv Qiubai (瞿秋白) and (2) the new version of Butterfly Dream (新编戏蝴蝶梦) (from now on I am going to call it the New Butterfly Dream) Qv Qiubai is a story about a politician who fought for the improvement of China and was killed in prison 1 New Butterfly Dream is a modern twist on a classical story about the ancient philosopher Zhuang Zi who faked his death in order to test the loyalty of his wife. 2 The two plays are typical examples of different kinds of newly made plays; their basic information is in Table 1 below They are set in different time periods and have different ideologies The ideology of Qv Qiubai matches its historical background while the ideology of New Butterfly Dream doesn’t.

Play Time when the story took place Year when the play was first performed

Ideology

Qv Qiubai 1935 2021 Modern New Butterfly Dream Around 3 B.C. 2023

Table 1

In this article, discussion around these two plays are developed based on two aspects: independent incidental music and incidental music overlapping with the traditional arias For

1The story took place in 1935 when Qv was imprisoned He reflected on his life and his beliefs and thought about his mother who committed suicide to ensure that he lived, his friend Lu Xun who shared the same belief with him, and His lover Yang Zhihua who had been waiting for him outside of the prison. In the end, he was killed by the opposing political power tragically

2Zhuang Zi tested his wife’s loyalty by faking his death and turned into a young Prince of Chu to lure his wife In the original story, the main theme is about criticizing the women who married someone else after the death of their husband, which was a popular thought under feudalism In the new version, the main theme is the equilibrium between men and women, and the subjectivity of females

the independent incidental music, this article will be discussing the innovative integration of the Western Theme and Variations and different choices for the chords For the incidental music overlapping with the traditional arias, this passage will be discussing how Western elements enhance the dynamic, melody, texture and harmony. Mentioned in the background, the expression of Kun Opera has a strong connection with the artists’ aesthetic preference and local traditions. Contemporary Kun Opera performances keep these similar features. Under the circumstances, how and how much Western musical elements should be involved in a play is decided by the director and experimental effect rather than stable conventions 3 Thus, some patterns and usages of Western musical elements are not conventions. Instead, they are some representative experimental trials.

Independent incidental music

Independent parts of background music, also described as atmospheric music(Zhang 2009, 59), improve the connection between different scenes and offer a narration. Usually, the plays have a prelude in the beginning to pull the audience into the setting of the play, which contains the theme Qv Qiubai and the New Butterfly Dream each contain a theme that varies throughout the whole play Throughout the performance, there are short variations of the themes, usually lasting for a few measures to illustrate and enhance the emotion at a certain point. (2.1, 2.2) Besides the themes and their variations, there are also some differences in the choice of chord that shape the style of each play.

2 1 The theme of the New Butterfly Dream in the prelude part 2

3 From the interview with Chi, Lingyu n (迟凌云 )

.2 The theme of Qv Qiubai in the prelude part

Form: the adaptation of Theme and Variations

As a typical Western practice, themes and variations are adapted in both plays with the following three functions. First, musicians need the theme to connect different parts of the play to ensure “unity within a variety”. Compared with the traditional way of performing only one or a few scenes of the play, a whole Kun Opera play that lasts for more than two hours needs a theme to hook the audience and its variations to connect all the scenes It usually informs the background of the play and the general vibe the director wants. Secondly, the theme and variation form maintains a narrative function. Different variations are composed according to the atmosphere of the play, such as the emotional state of each scene and the personalities of certain characters Such trials can be associated with the technique of thematic transformation applied by Franz Liszt in his Symphonic Poems. The way Liszt developed his themes was regarded as “transforming them to suit the needs of the literary subject rather than developing them on traditional symphonic lines (Mendl 1932, 449). ” Similarly, contemporary Kun Opera composers develop the themes to suit the needs of different characters and scenes Thus, the variations and developments of the theme maintain narrative function. Besides the two functions mentioned above, the variations also maintain the function of traditional incidental music. Traditional percussion sections and instrumental background music usually function as an indication of the characters’ identities, certain settings, and different emotions (Gu 2020, 195-201) In some cases, variations take the place of traditional incidental music while maintaining these functions With all the three functions, themes and variations offer great connection between different scenes.

Theme and Variations in New Butterfly Dream have traditional features, while at the same time are developed in a Western way The theme is a relaxing disjunct melody line based mainly on a pentatonic scale (2 1) This helps with its comic features and traditional background. In the following paragraphs, I will analyze some representative variations to show the function of adapting this Western composing tradition mentioned before and how they contrast with each other.

The first time the theme is played in the prelude part, it creates a lighthearted and ethereal vibe for the whole play. It has a rather thin texture and is at a low tempo. This brings the audience from silence to the first scene of the play, offering them full preparation. From the perspective of rhythm, the theme appears in a free way and even has an illusion of rubato, creating the style of traditional sanban (散板), in which the timing of each note is free (Chi 2021, 16). This creates a rather relaxed setting for this comedy.

The variation of Prince of Chu Kingdom in Scene II contains the function of a traditional percussion instrument, while at the same time illustrating the character and serving the play as a whole.

3.1 Where Prince of Chu’s Kingdom Came Out

As shown above, it appears when the Prince comes on the stage (3.1). The character has a horsewhip in his hand, indicating that he is riding a horse. Compared to the theme in the prelude part which contains rubato and loose meters, this variation contains a rather fast tempo and clear rhythm patterns which can be seen clearly in the timpani part The melody develops on the eighth note. All these create a good scene of the Prince of Chu’s Kingdom, who is Zhuang Zi in disguise; he is riding a horse, fast and light, with excitement and confidence, trying to find out how his wife would act toward his disguise as a prince. The rhythm pattern functions as both an imitation of the sound made by the running horse, imitated by the muyu (木鱼), and of traditional convention in composition In traditional plays, whenever the character makes the gesture indicating horse riding, the percussion section plays some dense and obvious rhythms to illustrate the scene (3 2) Thus, developing the theme with an obvious and unique rhythm pattern imitates the traditional way of

indicating horse riding. The theme and variation style, in this situation, allows the composer to maintain the function of the traditional percussion section At the same time, it illustrates the characteristics of the Prince of Chu’s Kingdom, connecting the part with other ones in the whole play

3 2 One of the Traditional Conventions of Percussion Usage to Indicate Horse Riding (Gu 2020, 199)

Another variation that can be compared with this one is in a casual and peaceful scene when Zhuang Zi is coming back home and his wife greets him, the timpani also joins, but with a weaker rhythm, making the emotion rather loose and relaxed. It also connects well with the prelude part, while adding a little bit of tension (3.3). This paves a good way for the coming plots and stronger emotions Thus, it connects with the other parts of the play while drawing a comparison between different scenes Hearing the variation of the same melody, the audience can easily compare the difference between emotion and characteristic of the scenes.

3 3 Variation after Zhuang Zi’s wife greeted him as he came home

In comparison, in Qv Qiubai, though the music also follows the pattern of theme and variations, the theme is in a neat antecedent-consequent style as a period This makes the whole theme sound serious and rigid, appealing to the heavy historical background (2 2) It also contains a motif that the composer used to create melodic sequences to strengthen the tension during certain parts of the play.

The variation of Qv’s mother in Scene One effectively illustrates the character of a mother and the tragic emotion when she committed suicide to save her children. It was performed twice: it appears when Qv’s mother came onto the stage for the first time and when Qv realized that she had already poisoned herself and was passing away. This variation is a pure female voice singing the theme with no accompaniment instrument This solo expresses the loneliness and hopeless situation of Qv’s mother when she was in debt and could not offer her children easy lives. On the other hand, this ongoing female voice also stands for the

character of the mother: bold, venerable, and resilient, always trying her best to protect her children and sacrificing her own life to save theirs With the illustration of the solo, a complex character formed on the stage It connects with the theme in the prelude part to maintain unity, while at the same time successfully shaping the characteristics of a mother. The variation of Qv claiming his choice of being killed by his enemy rather than yielding to them uses a stretch in beat and a special rhythmic pattern to create a sense of devotion This variation appears in the last scene As we can see from the score in the prelude part (2 2), the theme contains a combination of simple quadruple meter and simple triple meter. This unusual choice of rhythm brings a sense of instability and hesitancy. This feeling somehow echoes with Qv’s emotion at the beginning part of the play However, in this variation, the rhythm turns into a pure simple quadruple The last note of each sentence was lengthened to fill the additional beat Thus, it brings a stretching, stable, and certain feeling This kind of change in the rhythmic pattern resonates with the emotional flow of the plot: from the insecurity and dismay at the beginning to the solemnity and in the end. This theme also contains a special rhythmic pattern that builds up the tension between the lines

Harmony: Chord

The choices of chords for the two plays are different due to their different historical background Since Qv Qiubai is a modern story, thick texture and Western chord progression are used More accurately, it contains the flavor of Romanticism and Impressionism There are dissonant chords, seventh chords, and great tension. This would be perfectly reasonable, for Qv Qiubai lived in the first half of the 20th century in China. One example is the cadence before the percussion section comes in when the composer uses the VII chord as a major third. This created a sudden major color which in turn sets off the sadness of minor This is a technique applied by some composers during 19th century Europe, such as the usage of the Napoleon Six chord, which has a major color, instead of the original vi chord in minor scales when composing a plagal cadence. While diversifying the color, it also eschews the chance to make it sound like a typical classical-period chord, fitting into its setting

For the New Butterfly Dream, the main chords are built on traditional scales to indicate the ancient background. This can be easily seen from the Guzheng part (4.1). The composer adds pizzicato of cello and double bass, playing the root of the chords in octave This octave is way lower than the other traditional instruments, allowing the composer to emphasize the sense of chord and scale. Also, the pizzicato brings vividness and liveness to the prelude, which both pushes the music forward and expresses a comic style. (4.2) There are two reasons why the octave smoothly blends with traditional instruments. It is always on the downbeat, which offers it part of the function as the percussion instruments Also, its dynamic matches the theme In other cases, when its existence is too obvious, it will cover the theme and be the first to be recognized, which is certainly not something the composer wants. In conclusion, though mainly based on traditional scales, Western instruments that emphasize the root invisibly enhance the whole prelude.

4 2 root note played by cello and double bass

Incidental music when overlapping with traditional arias

Western musical elements in the accompaniment part of traditional arias bring stronger sound effects for the whole play They bring a broader dynamic range, a strong bass line to strengthen the texture Since it is composed in a free way, there are no restricted conventions for this integration. Thus, sometimes even chords that are not contained in the original scales are used to add fresh flavor to the piece.

Dynamic

Using Western musical elements can broaden the dynamic range of the traditional arias In traditional performance, when musicians want to create a strong effect in dynamic change, they can only rely on the dynamic range of each traditional instrument and each actor.

However, with the involvement of Western string and even brass sections, composers can add thick texture and more instruments when the dynamic needs to be forte, and exclude them when a piano is needed Thus, the dynamic range is broadened, and the contrast between strong and weak dynamics is enhanced, which in turn brings stronger effects for the expression of emotion.

For example, when a line is repeated, the huge contrast in dynamic can enhance its original effect of emphasizing the strong emotion At this point, the amplifying effect of repeating in literature cooperates with the broad sound effect in music

Left: the dynamic change in the repeated sentence in Qv Qiubai; Right: the dynamic change in the repeated sentence in New Butterfly Dream

As shown above, in the third scene of Qv Qiubai, Qv mentioned his mixed feelings about writing his last article before his death. When he sang “depressed words (萧条文字)” for the first time, the texture was thin. However, during the second time, nearly all the instruments joined, including a whole Western string section. They formed thick chord progressions and the dynamic reached mf. This dynamic contrast in the repeated sentence perfectly shows the protagonist's reflection and deconstruction of his own arduous but vibrant life A similar technique is used in New Butterfly Dream when Zhuang Zi was wondering how his wife

could fall in love with someone else immediately after his death. When the line pointed out was sung for the second time, the weak sound was replaced by chords and another melody in the Guzheng part At this point, it strengthened the anger and shock of Zhuang Zi and rationally illustrated his action of repeatedly thinking of his wife’s actions. In these two cases, using Western chords and instruments allows composers to create strong effects for sudden crescendo and sudden strong emotional switches, pushing the plot forward. This kind of strong effect on the modern stage cannot be achieved by only using the traditional heterophonic style and traditional music

Texture: a stronger bass line

Western elements are used in the traditional arias to enhance the melody line The most obvious Western element used is the involvement of cello and double bass As mentioned before, traditional accompaniment is mainly the transverse flute, which has almost the same pitch as the actors and actresses. Cello and double bass, however, create a bass that is a few octaves below the main singing part, building a strong base for the melody line and enhancing the melody Cello and double bass play some important notes, such as the notes on the down beat in the melody or counter melody of the aria The usage of cello and double bass in the aria depends on the theoretical feature and emotion of the aria. They are used based on the melody and their emotions, which I am going to explain in the next few paragraphs.

Conjunct bass lines are used to enhance the progression and certain emotions For instance in the Scene I in New Butterfly Dream, there is an aria called Xiao Tao Hong [小桃红](5.1). In

it Zhuang Zi sang to himself, judging his wife’s attitude towards marriage The melody in the aria part is rather disjunct, while cello and double bass follows a conjunct pattern This offers

a peace and thoughtful emotion, illustrating that Zhuang Zi is making a reflection and judgment on his wife What’s more, the three notes are all maintained in the traditional scale

Thus, the composer enhances the emotion with Western bass line while at the same time keeping the traditional flavor.

5.1 the conjunct bass line in [小桃红]

Similar usage can also be found in Qv Qiubai. In the aria Ji Xian Bing [集贤宾], there is a conjunct bass line that goes inversely with the melody line (5.2). At this point it brings a firm progression for the active melodyline. This sort of conjunct melody lines are used in various occasions to enhance progression and build a stronger texture.

5 2 the conjunct bass line in [集贤宾]

For the techniques, when the emotion of the melody is light and the main attention is focused on narrative, cello and double bass play pizzicato In contrast, when the emotion is strong or lasting, cello and double bass play arco. For instance, in Scene I in the aria Shui Hong Hua [水红花] in Qv Qiubai, Qv and a general, Xilian Song were memorating their old days when Qv was teaching in the military academy (6 1) Back then, he was a popular teacher among the students. In Sentence 1 marked on the score, Song mentions his experience taking Qv’s lessons. In Sentence 2, Qv goes through his vigorous and high-spirited state. The language

turns from a descriptive, normal tone to a lyrical tone. The melody in traditional aria turns disjunct and leaps a minor six upward All the elements work to provide a sudden burst in Qv’s emotion Meanwhile, the strong bass provided by cello and double bass turns from pizz to arco. Thus, it brings in a stronger emotion that perfectly fits and cooperates with traditional musical elements. It strengthens the glowing emotion of Qv. In the following sentences, Qv mentioned that all the students were deeply touched by his lecture. A similar way of using arco appears in Sentence 3 marked in the score (6 2) In this sentence, Qv mentions his students cheerfully talking together with him In this case, the composer uses a thick texture in the accompaniment part which resonates with the scene described in the lines. At this moment, the bass again involves arco instead of pizz. to enhance the strong emotion. Thus, the different techniques in the bass line perfectly express the emotion in the sentences

6.1 When Qv and Song were remembering the old days in the military academy

6.2 When Qv was going through a cheerful time with his students

Harmony: Chords

The integration of Western chords to the traditional arias adds new color and different flavor to the piece, improving the overall effect. Like Western music, traditional Kun Opera arias have their own progression and own way of indicating the end of each sentence and period. Same arias in different plays share a similar melody pattern and ending note, and alternations of some notes are made according to the pronunciation of Chinese characters (Gu 2020, 37)

On some occasions, Western chords and cadences are added to the accompaniment part, overlapping with the traditional ending pattern. They not only add notes that are not in the original aria but also bring a little Western flavor, introducing the scene to audiences who are used to listening to these cadences.

The usage of Western cadences, when overlapping with the end of the melody, usually enhances the ending function and brings a more certain and light feeling to the aria For instance, in Qv Qiubai, there is a scene when Qv knows that his mother committed suicide in order to ensure his living, and he decides to fulfill his political will and fight for others’ freedom to avoid this sort of tragedy to duplicate (7.1). At the end of that scene, the aria ends on D, and it is based on a pentatonic scale of D. In this case, there is no C sharp in the scale of the aria However, in the last two measures of this scene, the accompaniment part plays a V-I in D major, adding the C sharp from the V This enhances the feeling of resolution and the firm belief in Qv’s mind. Also, in this play, there isn’t a closure of the curtain on the stage between each scene. Thus, the authentic cadences function as a strong and firm hint that one scene is reaching its end in a palpable way for the modern audience In this way, though it brings new musical information into the scene, it does not break the original emotion of the aria Controveryly, it ameliorates the original function.

7.1 When Qv decided to fulfill his will in order to avoid a similar tragedy as his mother’s death

Influence on the identity of ‘music in traditional opera’----Conclusion

This article contains discussion of how composers integrate Western musical elements into Kun Opera music traditions as an innovation to enhance the overall effect of Kun Opera plays. Conclusions are made by detailed score analysis from the two aspects: independent incidental music and incidental music overlapping with traditional arias With these analyses, the functions of the integration of Western musical elements are shown: to connect different scenes, enhance narrative function and attract modern audiences.

From the analysis, it is easy to find out that the involvement of Western musical elements in Kun Opera performances is involved in a rather innovative and unrestricted way Although there are already some similar patterns of using musical elements that are quite developed in the cases mentioned in this article, they are usually based on the personal choice of the composers and directors rather than strict conventions and rules

Contemporary Kun Opera audiences need this kind of innovation that provides them with both confidence in cultural identity, and a slight glimpse of the ancient beauty from their contemporary perspective and ideology. Audiences and composers are both used to the idea of “a long-standing acceptance of European art music as the basis of contemporary musical development and change, and a general recognition of the local, the indigenous as a resource for projecting local, and even national, identities (Hilary 2017, 8).” Thus, involving Western elements can attract more audiences to enjoy the traditional art form and to find a way to build their cultural identity. Also, as mentioned by Fang Kun in the discussion in 1981 after

the second Durham (England) Oriental Music Festival (4-17 August 1979), “Traditional music has developed, it has great vitality, it is not static (Fang 1981, 5) ” Though traditional, they are also developing with time When audiences are observing traditional Kun Opera, they are not chasing for an accurate performance that took place in the past. Instead, they are chasing a “tradition” they believe in that develops from their contemporary perspective. Thus, the development of music in Kun Opera performances can bring the audience with a glimpse of ancient beauty from their contemporary perspective and understanding of tradition

As mentioned by contemporary Kun Opera composer, Sun, Jianan (孙建安), (Zhang 2009, 62), music innovations in Kun Opera should “follow the original charm of Kun Opera” and “add some techniques outside the words of Kun Opera music”(Zhang 2009, 63). There is never a certain answer for how Western musical elements should be integrated. Through trials and cooperative work, the integration will become mature. Let us wait for future innovations in the music of Kun Opera plays.

Appendix

Videos of the cases

Qv Qiubai 《瞿秋白》https://b23.tv/fsta3TX

The new version of Butterfly Dream 《蝴蝶梦》 https://b23.tv/kjs8e5m

Scores

Borrowed from Jiangsu Province Kun Opera Theatre

Bibliography

Alan R. Thrasher. 1985. The Role of Music in Chinese Culture The World of Music, 1985, Vol 27, No 1, China (1985), pp 3-18

Chi, Lingyun 迟凌云. Kunqu Gongche 昆曲工尺[gongche in Kun Opera](Beijing: Zhonghua Shujv, 2021)

Gu, Lingsen 顾聆森 Kunqu yinyue Gailun 昆曲音乐概论[Introduction to Kunqu music](Shanxi: Shanxi jiaoyu chubanshe, 2020)

Hilary Vanessa Finchum-Sung. 2017. Aesthetics of Interculturality in East Asian Contemporary Music The World of Music, 2017, new series, Vol. 6, No. 1, Aesthetics of Interculturality in East Asian Contemporary Music (2017), pp 7-20

Mendl, R. W. S. 1932. The art of the symphonic poem. The Musical Quarterly, 18(3), 443462

Ng, Wing Chung. 2024. “Kunqu: A Classical opera of Twenty-First-Century China.” The Journal of Asian Studies, June

Wu, Xinlei; Yu, Weimin; Gu, Lingsen 吴新雷、俞为民、顾聆森 Zhongguo Kunjv Da Cidian 中国昆剧大辞典[Dictionary of Chinese Kun Opera](Nanjing: Nanjing Daxue Chubanshe, 2002)

Yu, Zhenfei 俞振飞 Sulu Qupu 粟庐曲谱[sulu music scores](Shanghai: Shanghai Cishu chubanshe, 2020)

Zhang, Yan 张艳. Qinhuai yuyun--Kunjv yinyue chutan 秦淮余韵 昆剧《1699 桃花扇》

音乐初探[the echo of Qinhuai--a brief exploration about music in 1699 Peach Blossom Fan](Chinese National Academy of Arts, 2009)

Special thanks

I must show my genuine gratitude to all the musicians and actors in Jiangsu Province Kun Opera Theatre who lended me the score and helped me with some basic ideas about music in Kun Opera They offered me greater possibilities when writing this article and improved my understanding of music.

BY

CODY

“Regardless of good or bad, everyone ' s life has a 'what if' story. Even if given the opportunity, I would not change any part of my life - it is these experiences that have allowed me to find true happiness ”

This is what Derrick Rose said after announcing his retirement on September 26, 2024, ending his 16 years of NBA career

Derrick Rose, born on October 4, 1988 in Chicago, Illinois, USA, is an American professional basketball player who plays as a point guard, and he is best known as the youngest regular season MVP in the NBA

His story can be very short He is just one of the many geniuses in the NBA who was destroyed by injuries, and he do not have countless honors like Michael Jordan, LeBron James and Stephen Curry, or even an NBA championship trophy, at last ending his career in silence. But his story can be very long as well. Since high school, he has shown his talent in basketball. He won many honors during his high school and college career and entered the NBA as the top scorer. And just 2 years after entering NBA, heoverrided a group of superstars to become the regular season MVP of that year He was only 22 years old, becoming the youngest man who won this award

“Derrick Rose blocked the ball! He killed the game with a block On this magical night, he wrote the most brilliant chapter of his life!” On Halloween in 2018, the R ose blossom again He got 50 points in

THE ROSE THAT NEVER WITHERS

——MY THOUGHTS ON THE RETIREMENT OF DERRICK ROSE

the game, breaking his career high scoring score, and broke the opponent's hope of winning by blocking their winning goal That night, Derrick Rose told the world he is still The Blooming Rose “Even a superhero was knocked down, he is still a superhero At the end of the day, Derrick Rose showed that he is still the superhero”

I am a big fan of NBA and I always watch some clips of NBA players on tiktok There are manysimilar videos about the same player, telling about their honors and championships Usually I will just skip to the next video if I have saw one similar before, but videos about Rose are the only ones that I want to watch again and again in patience, for the story of Derrick Rose is so inspiring. What impressed me most is his pure love to basketball. Torn cruciate ligament, the injury that makes all athletes tremble with fear,did not defeat this superhero. After recovering, he was still there,

being calm after shooting the buzzerbeater and win the game Then he suffered injury again, and the third time... His teams traded him many times and his salary kept decreasing, transformed from the top salary player to a bottom salary player. Experiencing all kinds of injuries, leaving all his familiar teammates, having lower and lower salaries, none of this beat him. He still persevered in basketabll because he has devoted himself to basketball since he was born. His love to basketball and his persistence are like buds, becoming larger as his wandering among different teams. Finally, the rose blossomed

WallpaperAccess (n d ) Derrick Rose Chicago Bulls [Image] WallpaperAccess https://wallpaperaccess com/derrick-rose-chicago-bulls

beautifully on a winter day, with most people discovering it after the brilliant bloom In his farewell letter, he called basketball his First Love and he said that basketball showed him what love truly meant Looking back, maybe he is still the boy in Chicago who said “Why not? Why can't I be MVP of the league? Why can't I be the best player in the league?”. Injuries may hurt his body, but never harm his spirit and his pure love to basketball. Indeed, flowers will bloom again, and people will never have their youth. Derrick Rose ended his career in NBA, but at the same time, the ‘never-withered’ Rose uses his career to tell us love can overcome all difficulties.

SEPTEMBER

DERRICK ROSE'S STORY IS ONE OF RESILIENCE AND PASSION, SHOWING THAT TRUE GREATNESS LIES IN OVERCOMING ADVERSITY WITH UNWAVERING LOVE FOR THE GAME.

S N O W

B Y W A D E

S h a d o w i n g , r e s i d u a l r e e d s r e l y o n t h e r i v e r s i d e s .

P u r i t y o f s n o w i s s e t o f f b y t h e w i n d

T h r e a d s d r i f t g e n t l y a n d g r a c e f u l l y ,

W h i l e i c y g r a i n s c o n v e r t i n g t o c r y s t a l

j a d e s

残 苇 依 江 影 ， 风 衬 雪 自 清 。

丝 缕 亦 飘 然 ， 粒 冰 成 玉 晶 。

The

Poems

E X T O L L I N G C H E S S

B Y W A D E

W i t h a n c i e n t w o o d s c e n t s , i n k c e l l s a r e

c r i s s c r o s s i n g .

C h e s s p i e c e s i n l i g h t a n d s h a d e d i v i d e

Y i n a n d Y a n g .

T h e s t a r s o f n o r t h a n d s o u t h r u l e t h e

m a n d a t e o f h e a v e n ,

A n d i n t h e g a m e o f l i f e , t h e r e a r e d e a t h

a n d s u r v i v i n g .

横 竖 墨 格 古 木 香 ， 昏 明 棋 子 分 阴 阳 。

南 北 斗 转 天 命 定 ， 人 间 博 弈 即 存 亡 。

The Poems