The first chapter "Drama from Ancient Times to Five Dynasties" is the author's investigation and reflection on the origin and formation of China's drama. His investigation on the origin of China's plays mainly includes two aspects: witchcraft and superiority. Documents such as The Book of Songs, Songs of Chu, Han Shu, Shuowen Jiezi are the main basis for investigating witches based on the first witchcraft, especially Chu and Yue in the Spring and Autumn Period and the Warring States Period. Wang noticed some historical facts from the series "You Yi", such as the dream of wearing clothes and the punishment of You Shi in Yonggu, and based on the three biographies of Spring and Autumn Annals, Historical Records and Biography of Lienv. The main focus of Wang Guowei's investigation on the formation of China's dramas is "telling things by singing and dancing", so he took this as the criterion, combed all kinds of historical records since Qin and Han Dynasties, and noticed some historical facts such as the number of plays in the corner of Han Dynasty, the witch in Liaodong in Wei and Jin Dynasties, the warrior Lan Ling in Northern Qi Dynasty, stepping on his mother, joining the army in Sui and Tang Dynasties and singing and dancing. The farce published in the newspaper, these two colors are not contradictory. Such as Li Kezhi's Confucian clothing towel and belt; Cui Xuan's child took a simple belt and turned around and promised; The green faces of the Southern Tang Tombs are the land gods of Xuanzhou, and they are all so-called soldiers. And it's the stork who treats it. This view of the Song Dynasty drama contained in the next chapter is self-evident, not empty talk. The main points are as follows: the drama of Tang and Five Dynasties, or mainly singing and dancing, lost its freedom; Or perform one thing, but not be sung and danced. He saw the Southern Song Dynasty, the Jin Dynasty and the Yuan Dynasty zaju exactly the same.
However, when the author examines the origin and formation of China's plays, there are also great differences. In his view, China's plays "should be ashamed and excellent", which is quite misleading to later generations. When Wang Guowei inspected the formation of China's plays, he emphasized "singing and dancing", especially "bending" in the plays, which also reflected his understanding of the artistic characteristics of China's plays, but this understanding was obviously perceptual and metaphysical. When he explored the formation of China's plays along the historical clues with this idea, he inevitably had the color of "evolution". If we look at the relevant historical facts and phenomena with a constantly mature and evolving vision (rather than a "qualitative change" vision), it is inevitable that people have different opinions and it is difficult to form a conclusion.
The farce of Song, Liao and Jin can be found in this book. This farce was also called zaju by Song people, or zaju. Lv Benzhong's "Children's Training" said: "A zaju actor fell in, but threw it out." Wu's Dream also said: "Zaju uses stories, which is very funny." Meng Yuan's "Dream of China in Tokyo" says: "There are miscellaneous plays in the holy shrine, which makes people have a pre-banquet and dare not make deep jokes." There is no time to know. It's a drama of the Song Dynasty, which is mainly humorous, just like a farce of the Tang Dynasty. However, the color of the feet is obvious and the layout is a bit complicated. However, it can't sing and dance, and it is far from being a real drama. However, it is very different to say that the drama of the Song people ends here. Although there was such a farce in the middle of the Ming Dynasty, the stories contained in Lin Wen's "Langxie Full Nest", Xu Xian's "Miscellanies of the West Garden" and Shen Defu's "Wanli Ye Bian" were all the same as those in the Song Dynasty. If this is the summary of the play, no one can but laugh. So is the Song Opera. Therefore, if we want to know the origin of Song and Yuan drama, we must seek it from other aspects.
In the chapter "Novel Zaju in Song Dynasty", Wang Guowei noticed various literary and artistic phenomena related to drama in Song Dynasty, such as speeches, puppet shows, shadow play, three religions, drums and dancing teams. When talking about the significance of the speech in the Song Dynasty, he said: "Although its development track is slightly parallel to that of traditional Chinese opera; However, the themes of later plays are mostly taken from this, and the structure is mostly imitation. So there are many developed dramas. " However, this is a question of writing, which has nothing to do with Song's novels. Song's novels are not written, but spoken. Naideon's book Ji Sheng of the Capital says: There are four kinds of words: one is a novel, the other is a classic, the other is a participant, and the other is a history book. Dreams and Liang Lu (Volume 20) is similar in discipline. This chapter profoundly reveals the various styles of drama, which is an art form that is well combined with language.
The most well-known chapter in "Song Music" is Ci. Also known as near-body Yuefu, also known as long and short sentences. Its style began in the middle Tang Dynasty and reached the late Tang and Five Dynasties, with more and more authors and flourished in the Song Dynasty. Song people's banquets are all songs. But there are a large number of people who sing and don't dance, and their songs are one to one. Its topic involves the investigation of various kinds of "music" such as Song and Jin Daqu, Tang Da, Zhugong Tune, singing and earning, aiming at finding the source of "real drama" in later generations from two aspects of "form" and "material". The author thinks that Dong Jieyuan's The West Chamber is a masterpiece of Zhu Gong's tune. In this chapter, according to the old Wulin, Dream of Liang Lu and other documents, he also verified that the income words in Shilin Guangji were written by people in the Southern Song Dynasty, and his views were later recognized by the academic circles.
The fifth chapter "the number of official dramas in Song Dynasty", the sixth chapter "the name of Jin Dynasty" and the seventh chapter "the structure of ancient operas" in History of Song and Yuan Dynasties are mainly about the research on the harmony of Song and Jin zaju. In the fifth and sixth chapters, Wang Guowei's main job is to classify the "official-based zaju segment" contained in The Legend of Wulin and the "courtyard-based name" contained in The Record of Dropping Farms. According to Wang's research, among the 280 official operas, "there are three people who use Daqu, four people who use Daqu, two people who use tune, and thirty people who use ordinary tune." Among the 690 school names, 16 uses Daqu, 7 uses Daqu, 7 uses words and 7 uses Zhu Gong. Then, he made such an evaluation of Jin: "Its genre is completely similar to Song Guanben's zaju. Song and Jin once had a miscellaneous play book, which no longer exists today. From its own point of view, its structure is very different from later dramas, so it is called ancient drama. Ancient dramatists were not pure dramas, but also competitive games, which were described in the first two chapters. The banquet was not a Gaelic drama performed by Washer. Only the title of the song is less than one tenth of all; More than five-tenths of official dramas are different. " However, the drama history of Song and Yuan Dynasties only regards Song and Jin Zaju as a "historical development stage" of China's drama, which is due to his limited vision.
Chapters 8, 9, 10, 11 and 12 are his research on Yuan Zaju. The eighth chapter "The Origin of Yuan Zaju" mainly demonstrates that it originated from "Song and Jin old songs" and "Song and Jin ancient dramas" from two aspects: "form" (that is, the tunes used in Yuan Zaju) and "material" (that is, the content and theme). In the chapter "Time and Place of Yuan Zaju", Wang Guowei studied the historical stages, spread areas and development reasons of Yuan Zaju mainly based on the literature materials such as Ghost Book, and many conclusions had a far-reaching impact on later generations. Wang Guowei divided Yuanqu into three periods: "First, the Mongolian era: from the time when Taizong entered the Central Plains to the beginning of the unification of the Yuan Dynasty. Most of the 57 authors recorded in The Book of Ghost Records are in this issue. Everyone is from the north. ..... Second, the era of great unification: from Yuan Dynasty to Shun Dynasty and then to Yuan Dynasty. The same is true of the so-called "dead public talents, those who know each other or those who don't know each other" in Ghost Records. ..... Third, the perfect era: the so-called' Jin Fang talents' in ghost books are also true. " According to this staging method, the author must come to the conclusion that the first issue has the largest number of authors, and all of them are northerners. It can be seen that the northern places such as Dadu and Pingyang are the "origins of zaju". After the mid-Yuan Dynasty, the center of Zaju moved south to Hangzhou, and Zaju declined. Among the famous ministers in the early Yuan Dynasty, there were some who made small orders. Only the authors of zaju usually wear cloth clothes, otherwise it belongs to provincial history. Among Mongolian semu people, there are also people who write series of poems, while only Han people (among them, only Li Zhifu is a jurchen) write zaju. It is superior to the subjects to appoint a person who has been an official since the end of the Jin Dynasty and has a background in history. Going to Mongolia to destroy gold and waste subjects for 80 years is unprecedented for their own subjects. Therefore, it is not surprising that people who write articles can't get into the body unless they are swords and pens, so many zaju writers are history.
Wang Guowei's assertion that Yuan Zaju flourished first and then declined is the most influential view on the study of Yuan Zaju in later generations, but there are actually many problems. Ghost Record by Yuan Zhongsicheng is the most important source of information for people to understand the history of Yuan Zaju. It is understandable for Wang Guowei to outline the history of Yuan Zaju, but Ghost Record itself is not written in chronological order, so it is not reliable for Wang Guowei (and later generations) to divide the history of Yuan Zaju according to the grouping of Ghost Record. Luo Di pointed out in the article "Grouping of Ghost Records and Staging of Song Yuan Writers" that there are even many people in the group of "Jin Fang Talents" in the second volume of Ghost Records who are even later than the group of "predecessors are all dead" in the first volume! According to the re-staging of Yuan Qu writers' lives, he found that the number of writers in the first, middle and last stages was slightly equal, and there was no phenomenon of prosperity before and decline after. . There are less than 200 writers of Yuan Zaju, about 2,000 writers of Yuan Qu and about 200 writers of ci writers. Most of these poets did not create zaju (and occasionally the creation of Sanqu was limited to Xiao Ling). It is a fact that the imperial examination was abolished in the Yuan Dynasty, but this fact did not lead to the vast majority of literati in the Yuan Dynasty devoted themselves to the cause of zaju, and we have no reason to think that the most talented literati in the Yuan Dynasty are among the zaju writers!
In the chapter "The Survival of Yuan Zaju", Wang Guowei mainly investigates the survival of Yuan Zaju scripts based on Ghost Book, Taihe Yin Zhengpu and Selected Songs of Yuan Dynasty. In addition, I am afraid that the number of lost books will be found one day, but in terms of quantity, I am afraid there will not be more than 200 kinds.
Chapter 11 "The Structure of Yuan Zaju", in which Yuan Zaju is based on a set of Gongdiao songs. Ordinary zaju, about 60% off, or adding wedge case "Shuo Wen" (6): "Wedge, also." Today, a carpenter has an unstable place between two pieces of wood, and then he inserts the wood. This is called a wedge, also called a wedge. So is the wedge of zaju. Beyond the 60% discount, if you have unfinished business, you should use a wedge. In the past, people called it the wedge of northern music, that is, the introduction of southern music, but it was not. The wedge of Yuan Zaju, either in the front or in the fold, is generally composed of two songs: Lu Xian Shang Huashi or Righteousness and Kindness. Only the wedge in the second play of The West Chamber uses the complete set of Gong Zheng Zhengde, which is also a wedge. Except for the heel, it's still 60% off. Only Ji's orphan Zhao has a 50% discount and a wedge. This is an example of meta-upheaval. Zhang Shiqi's Flower Moon Swing no longer exists today, but according to the record book, it is 60% off. Besides, I don't know anything. If the story of the West Chamber is 20% off, it will be completed by five films. If it is combined into one, the score will still be five. This is not unique in Yuan Zaju. Zaju is a kind of thing that integrates action, speech and singing. Therefore, Yuan Zaju has its own view that it is equivalent to the Three Kingdoms. Its punishment, yue zhi; Speech,,; Sanji, Yuequ. All actions recorded in Yuan Zaju ended with the word "ke". Later generations called it simultaneous development with Bai, but it was actually two different things. In the foot color of Yuan Zaju, besides the lead singer at the end and Dan, there is also net ugliness. And at the end, Dan color, many tribes. Today, if you watch it in Yuan Zaju, it is the end, including the end of the outside, the end of the rush, the end of the second, and the end of the small; There are Lao Dan, Dadan, Xiao Dan, Dandai, Sedan, Chadan, Waidan and Tiedan. It goes without saying that the singer and performer in the Yuan Dynasty were one person. Mao Xihe's Thorn is unique in that performers don't sing and singers don't perform. However, in the drama selected in Yuan Dynasty, Mingyun sang with Sang Dan at the end, and Yuan Dynasty zaju also sang at the end or put it at the end, which means Sang Dan was at the end. In addition, Shi Mao's theory of "Lian Xiang" was not seen in Yuan and Ming Dynasties, and it was still a habit of Ming Dynasty to doubt his ci. Even if there is such a thing, it is only one school in the drama, which is not enough to summarize the drama.
Chapter 12, Yuan Qu Pian, embodies Wang Guowei's understanding of the structural system and artistic achievements of Yuan Qu, which has a great influence on later generations and is most noteworthy. Wang Guowei's most important conclusion about Yuan Zaju is that the most wonderful part of Ran Yuan's drama lies not in its ideological structure, but in its articles. The beauty of his articles can also be summarized in one sentence: only artistic conception. Why is it artistic? Say: it is refreshing to write about feelings, and the scenery is in people's eyes and ears, as it is said. The best of ancient poetry is this. The same is true of Yuanqu. After the Ming Dynasty, the ideological structure was better than that of the predecessors, but only the artistic conception was unique to Yuan people. Here are a few examples to prove it. A best example is Guan Hanqing's "Xie Tianxiang", the third discount: [Gong Zhenghao] I used to be a prostitute in the dust, but I have seen many banquets, and I am still a free ghost when I go home. Today I fell into a bottomless grinding cage! Yuanqu is regarded as a rich cultural heritage of "people's nature", and many works are powerful explanations, showing how profound the ideological content of Yuanqu is and how rigorous and ingenious the drama structure is. Compared with Wang Guowei, this understanding can be said to be a serious retrogression!
Wang Guowei's theory on the attribution of Yuanqu and Bai writers: "The words of Yuanqu are mostly composed of Bai crosstalk; You can't make a song without being white at the same time. "This view actually reflects Wang Guowei's ignorance of Yuanqu. If people such as Guan Guan, Bai, Ma and Zheng are not regarded as "dramatists" but as "Yuan composers", then it may not be completely "incredible" to say that "Qu" is written by writers and "Bai" is written by actors. Then we can understand why Yuanqu is "cheap" and "clumsy": the composer of Yuanqu is most concerned about the production of divertimento to show his talent, but he might as well give it to the actors, so he has "cheap thoughts"; Yuanqu is based on the musical structure (that is, four sets of Beiqu). Within the framework of the four sets of northern music, the normal "drama structure" is difficult to develop, so we must close our eyes and be "clumsy"
Chapter 14 "The Origin and Times of Southern Opera" and Chapter 15 "Articles on Southern Opera in Yuan Dynasty" are Wang Guowei's research on Southern Opera. Wang Guowei first investigated and analyzed 543 Nanqu tunes recorded in Shen Jing's Jiu Nan Gongpu, and thought that "it originated from ancient songs, more than Yuanbei tune". Then, through the investigation of Jing, Liu, Bai, Sha, Pipa and other plays, it is considered that "all stories have their origins, and the relationship between Yuan zaju and ancient opera is more intimate". These understandings are very clever, but when he finally made a judgment on the era of Southern Opera, because "the oldest existing Southern Opera is probably from the Yuan and Ming Dynasties", he put Southern Opera after Yuan Zaju. The second major development of Yuan Zaju is described in the eighth chapter. However, most Yuan Zaju operas are limited to 60% discount, and each discount is limited to one gong tune, which can only be sung by one person. Its laws are strict and cannot be surpassed. Therefore, majesty is its strength; Moreover, the twists and turns are detailed and the shortcomings are short. In addition to this restriction, a play has no certain number of folds, and a fold (one of the southern plays) has no certain palace tune; Moreover, not only do you sing a song in several colors, but you sing a song in several colors, and all colors have white singers. This is a great progress of Southern Opera, and so are those who have to write a book to express it. There is almost no doubt that Southern Opera originated in the Song Dynasty. There is no test about when to make progress. We know that, but this kind of southern opera ear existed in the Yuan Dynasty. But its origin comes from itself, or it is anti-ancient in Yuan Zaju. This paper tries to analyze its song titles, which are more from ancient songs than from Yuanbei songs. Today, all people who record southern music belong to the Ming Dynasty. As far as we can see, the oldest is only 22 volumes of Shen Jing's Nanjiu Gongpu. There is a preface in front of this book, explaining that it comes from Chen and Bai; However, there are many new notes. From its point of view, the oldest existing southern opera may be the works between Yuan and Ming Dynasties. However, "Caomuzi" said that "the Southern Opera prevailed in the Yuan Dynasty, and the Northern Courtyard (this is called Yuan People's Zaju) was particularly prosperous during the chaos, and the Southern Opera was extinct". What did you say?/Sorry? Yue: Ye's record is still Jinhua's. However, it is also a fact that the prosperity of Southern Opera in the Yuan Dynasty began to decline in the early Ming Dynasty, and we can't talk nonsense.
It has been a conclusion since the Ming Dynasty that the plays in the South Yuan Dynasty were named Jing, Liu, Sacrifice and Killing, and they won five pipas, especially the pipa. In a word, the beauty of Southern Opera in Yuan Zaju is natural. Prediction is nothing more than a sentence, saying that there is artistic conception. Therefore, the two dramas of Yuan Zaju have similar advantages. It's just that the northern opera is tragic and the southern opera is gentle and tortuous, and there is almost no difference. This is because of the local atmosphere and music system. However, there is no such thing as Yuanqu. People in the Yuan Dynasty played and pushed Yue Bai and pipa in the south. In the Ming Dynasty, July, Zang and Shen Defu were all called "Yue Bai" above "Pipa". The beauty of Yue Bai is mostly copied from Guan Hanqing's zaju "in my heart forever Beauty worships the Moon Pavilion", but the system has been changed. People seldom watch Guan Opera in Ming Dynasty, and it is also Nanqu, so it is called Sheng Opera. Take this as an example and compare it with readers.
Finally, in music. As for drama, there is nothing new except "headline numbers" introduced into China from the Western Regions. Liao-Jin Zaju has the same structure as Tang-Song Zaju. Our generation would rather say that all the dramas of Liao and Jin Dynasties are from Song Dynasty, but the dramas of Song Dynasty are not from Liao and Jin Dynasties, which is more credible. The structure of Zhiyuan drama is original, but the creator is actually Han Chinese. It also makes extensive use of the materials of ancient dramas and the forms of ancient songs, so it can't be called imported.