The Stories Behind the Music
Lyrics by Chou Tien-wang, music by Teng Yu-hsien
"Rainy Night Flower"
Rainy night flower, rainy night flower, blown to the ground by the storm. No one to see it die, sighing with grief and regret, withering on the ground, never to rise again. / Flower on the ground, flower on the ground, who is there to look after you? The remorseless storm has taken your future away, what can the unopened buds do but fall and fade away? / The rain is remorseless, the rain is remorseless, little thinking of my future, and paying no heed to frailty, my future loses its luster. / Rainwater drips, rainwater drips, luring me into the pond of disaster. As I leave behind leaf and branch, there will never be anyone to see.
If anyone were keeping stats, "Rainy Night Flower" would certainly be one of the most sung Taiwanese songs of all time. Virtually every Taiwanese person can at least hum a few lines. Yet few people know that the melody for this sorrowful old Taiwanese song actually came originally from a children's song called "Spring," and that behind the song is a very real, and very tragic, love story.
In 1933, aiming to create Taiwanese-language songs for their compatriots to sing, several writers in Taiwan's New Literature Movement of that time began writing children's songs. One of the leading lights in literature of that period, Liao Han-chen, wrote out some simple, happy lyrics on the theme of flowers blooming in spring, and gave these to Kuo Yu-hsien to set to music.
The following year, Chou Tien-wang, a very resourceful composer of Taiwanese songs, who was much taken with the melody for "Spring," wrote new lyrics for it; but they were lyrics of a very different nature.
Once, when Chou was drinking in a tavern, one of the bargirls poured out a sad tale to him of how she ended up working in such a disreputable job. She was born in the country, and she fell in love with a man from her rural area. Later the man came to Taipei to make a living, and disappeared without a word. Deeply hurt, she came to Taipei to look for him, little expecting to discover that he had already married someone else. Too ashamed to return to her hometown, she ended up working in a Taipei gin mill.
"Rainy Night Flower" was an instant success, with its poignant lyrics that were so down-to-earth and easy to remember. Chou Tien-wang went on to write a story around "Rainy Night Flower," which was then read for recording by Chan Tien-ma, with the reading being made into a double-album love story that was at once lovely and melancholy. During WWII, the Japanese authorities went so far as to rewrite this popular number as a military march with new Japanese lyrics, designed to inspire young Taiwanese to join the Japanese army.
According to Chou's widow Ai-ai, Chou devoted much effort to the rhyming and cadence of the lyrics. On the bus, or walking on the street, he continually tried out different phrases, slowly evolving his final version. This important singer and lyricist in the world of Taiwanese songs passed away in Taipei in 1988. At his final resting place in Pali, at the mouth of the Tanshui River, four of his most important songs (including "Rainy Night Flower") are engraved on his tombstone, silently testifying to his intense dedication to music.
(Tsai Wen-ting/tr. by Phil Newell)
The Stories Behind the Music
Lyrics by Chen Ta-ju, music by Yao Tsan-fu
Goblet of Tragic Love
When others drink, they seem so happy and satisfied. When I drink I am forlorn and lovelost. How many people in the world are like me right now? Ai-ya, ai-ya, Love brings only tears and sorrow. / Sighing with self-pity and regret, I see everything clearly now. With anger and frustration, glass after glass, with no concern for others who laugh at my drunkenness, ai-ya, ai-ya, who can know the troubles I have seen? / In a drunken fog, eyes closed, I only see the color of dreamy red. It is not the lovely taste of wine that I seek. Looking at things the way they are, everything is but a dream, ai-ya, ai-ya, those who have lost love are the most forlorn of all.
"Some say that they drink to forget their sorrows, / but why aren't my troubles dissolved after drinking my fill? / At the bottom of the glass is the shadowy, illusory image of a dream. / Wherever I go to look for her, I always end up with a full glass of bitter brew." In the mid-1960s, the Mandarin pop star Hsieh Lei had a hit with the song "A Full Glass of Bitter Brew." But few listeners knew that this pop song was actually an updated version, rewritten with Mandarin lyrics, of an old Taiwanese tune called "Goblet of Tragic Love." The writer of the original, which was composed as a tango, was none other than Yao Tsan-fu, who gave up missionary work because of a passionate love of music.
Yao was born in 1907 and graduated from a seminary in Taipei. His love for music caused him to go against his father's wishes and give up a life in religion; instead he joined the Columbia record company. Besides "Goblet of Tragic Love," he wrote the music for many other well-known tunes, including "Anguished Heart."
"Sung in the new 'crying tune' style, this 'cry' of Yao's unleashed a veritable rain of tears that swept across all of Taiwan." So wrote Chen Chun-yu, manager of a record company, giving you some idea of the immense popularity of the original song. However, while Yao was at the height of his creative powers, his career was cut short by World War II, when the Japanese colonial government assigned him to Hong Kong as a translator.
When the war ended, his two boxloads of Japanese army-pay promissory notes became worthless paper. At the same time, with the arrival of a Chinese regime in Taiwan, Yao's colonial-era educational credentials were no longer officially recognized, and the creative space for Taiwanese-language songs was dramatically reduced. Yao had little choice but to take a job in a mining company, playing music in dance halls on the side. It was always hand-to-mouth, raising eight children on his meager salary. His older children left school as soon as possible to find work, while three of his younger children were sent to orphanages, scattering the family to the four winds.
Despite the harshness of his living conditions, Yao continued to write music. Each time he completed a new tune, he would borrow a bicycle from a friend and, with only a couple of rice dumplings to fill his stomach along the way, ride from Taichung to Taipei, pedaling from dawn to dusk, hoping to find someone to buy his latest composition. Worn down by life, Yao died in Mackay Memorial Hospital in 1967. His grave was relocated several times, and it is now uncertain where his body lies.
In those days there was no such thing as copyright protection, so, though Yao's songs were continually sung and recorded, he did not become wealthy as a result of the popularity of his music. On the contrary, his life was as tragic as the songs he wrote.
(Tsai Wen-ting/tr. by Phil Newell)
The Stories Behind the Music
Lyrics by Chen Ta-ju, music by Wu Cheng-chia
"Saying Farewell at the Harbor"
The dream of love has been smashed. Sending my beloved off, the wind in the harbor chills my face. Real love has been denied by our parents, not understanding the passionate hearts of youth. / The dream of freedom has been destroyed. Before happiness has been enjoyed to the full, tragedy comes. Saying sad goodbyes by the harbor, the stars in the heaven glisten like tears. What a sorrowful night, the night we part. / Others have shaken us awake from dreams of youth. Beautiful spring colors have become dark and overcast. / The seagulls by the harbor know not that we are parting, yet with each call and cry, they sing a song of breaking hearts.
In 1938, Taiwanese songwriter Wu Cheng-chia and lyricist Chen Ta-ju collaborated and simultaneously released a number of melancholy Taiwanese songs. "Saying Farewell by the Harbor" is especially noteworthy, for it records Wu Cheng-chia's own heart-rending story of love lost.
During the Japanese occupation era, Wu, a graduate in literature from a university in Japan at the tender age of less than 20, remained in Japan after graduation to get started on his career. Once, hospitalized with illness, he met and fell in love with a gentle Japanese woman doctor. Though their love was genuine, and they wanted to be married, they were prevented from doing so by the opposition of the parents on both sides.
The crestfallen Wu returned to Taiwan in 1935, and transformed this story of ill-fated love into a sad love song. Later, Wu's family, a prominent one in Taipei, arranged a marriage for him. Yet memories of his past surfaced repeatedly, each time causing him regret and pain. Many years later, Wu learned through third parties that the woman doctor had never married, but had raised their child single-handedly. He felt confused and turbulent emotions, but had no one to whom he could turn. He was inspired then to write the movie script for Saying Farewell by the Harbor.
Time passed and in 1978, at age 62, Wu finally returned to Japan, where he saw the woman doctor, who had never married, and saw his own child for the first time. The lovers of youth met again in the same coffee shop where they had had so many rendezvous 40 years before. Though time seemed to go backward, the coffee was now cold and bitter. The deeply affected Wu died three years later, leaving behind "Saying Farewell by the Harbor," a reflection of his own life, as a lament for all lovers in the world to shed a tear and sing a song of breaking hearts.
(Tsai Wen-ting/tr. by Phil Newell)
Many of the photos in this feature series come from Chuang Yung-ming, and from All About Taiwanese Pop Music by Cheng Heng-lung and Kuo Li-chuan (publisher: Taiwan Interminds Publishing, Inc). Sinorama extends its sincerest gratitude for their generous assistance.