(At the end) Yun: The primary school is there! Now that Han has come, the man with the knife and axe will definitely kill me! Hand over that man. (See you later) (Singer) (Zhengmoyun) Residents! Don't talk, I'm telling you! (Wait with He Yun) (Sing to the end)
The other sentence is in "Li Taibai humiliated Yelang": (Bin): Where do you ask me to go? (Singing) ..... "Mr. Xu's Note:" Bin is the abbreviation. "Bai Bin" means to put it bluntly. " (Noe: Xu: Thirty Kinds of Zaju in the New Academic Journal, Zhonghua Book Company, 1980, p. 495. The zaju quoted in this paper are all found in Xu Benji, and the following is no longer noted. But what about "singing guests"? Let's infer that "bin" may be a kind of singing between singing and singing, or similar to the rhyme and white in today's opera.
In Zhu Youdang's zaju in the early Ming Dynasty, all the published versions of Xuande's plays were marked with the word "Du Ke", which was deleted in later books. It can be inferred that "Du Ke" is of little use in later scripts. However, Zang's Preface to Yuan Qu, Shen Defu's Miscellaneous Notes on Ancient Qu, and Wang Jide's and Li Yu's Preface to Yuan Qu all mentioned Bai Bin many times, especially Qu Lv, Li Yu's Notes on Leisure, Ci and Qu Bu, all of which were devoted to Bai Bin. In their discussions, "Hakka Bai" is often equated with colloquialism, giving people the same impression.
"Bai" has long meant to state and repent, and it is very useful in Songs of the South and Historical Records. But why didn't Yuan Zaju use "white" or use "white" directly, but used an inexplicable "guest white"? People in the Ming Dynasty have three explanations for this: First, the article Bai Bin in the narrative of Nanci: "Singing is the main thing, white is the guest, so it is called Bai Bin, which is easy to understand." (Note: See "China Classical Opera Works Integration" III, China Drama Publishing House, 1959, p. 246. ) Ling Mengchu's "Talking about Qu Za zhā" is also true. Second, Ming and "Essays of the Old Man in Jiean", Volume 5, "Qu Binbai": "The Northern Song Dynasty was full of guests and all white, two people talked about guests and one talked about white." (Note: Xu Li: Essays of the Elderly in Nursing Home, revised by Zhonghua Book Company, 1982, p. 194. ) Ming Nan Jiang's Bao Pu Notes is the same as Khan's Ju Pu Conghua. Third, Jiao Xun's drama quotes Mao Xihe's "The Thorn of the West River": "When the miscellaneous colors enter, there is no singing at first, and it is called' Bai Bin'." The words "guest" and "master" are right, which means that white lies in "guest" and the singer has his own master. At the end of the Yuan Dynasty and the beginning of the Ming Dynasty, the Northern Song Dynasty changed to the Southern Song Dynasty, and people with mixed colors sang, regardless of subject and object. (Noe: See China Classical Opera Works Integration, Volume VIII, pp. 97-98. )
Bai Bin can be divided into two forms: dialogue and monologue. Monologues can be divided into several types: fixed field white, dull field white and side white. This is the self-introduction of the character when he first came on stage. Usually he reads two or four sentences first, and then reports it himself. This form shows the trace that zaju originated from script and rap. Frankly speaking, this is the role of the second or third white man who directly describes the reasons or expresses his feelings to the audience. Narrator is talking to the audience alone behind other actors' backs. Modern drama history works generally do not pay attention to the original meaning and origin of "Bai Bin". Wang Guowei's Textual Research in Song and Yuan Dynasties quoted Nan Jiang's Notes on Bao Puzi as saying that "two people talk about the guest and one talks about the white" and said: "The guest is different from the white." (Note: The Complete Plays of Wang Guowei, China Drama Publishing House, 1984, p. 8 1-82. ) seems to agree with this statement. Wang Jisi quoted Jupo Cong Hua in the West Chamber. (Noe: Wang Jisi: The Five Chapters of the West Chamber, Zhejiang Long Yin Bookstore, 1944, p. 37. Xu Fuming's Yuan Zaju Art generally agrees with the interpretation of Nanci Narration. (Note: See Xu Fuming's Zaju Art in Yuan Dynasty, Shanghai Literature and Art Publishing House, 198 1, p. 20 1. )
The origin of "Bai Bin" is related to its reciting style, which cannot be avoided. We believe that the far source of "Bai Bin" is the question and answer between subject and object in Han Fu, and the near source is the "equivalence between subject and object" in Buddhist discussion.
Stay away from Han Fu:
Stylistically speaking, many works in Han Fu adopt the form of subject-object question and answer. Feng once paid attention to this form and its relationship with drama, and took a conversation between "Xi Du Bin" and "Master Du Dong" in Xi Du Fu by Ban Gu as an example to illustrate it. (Note: See Feng's Han Fu and Ancient Talents and Feng Classical Literature Essays, Shandong People's Publishing House, 1980, pp. 78-94. The question-and-answer methods of Han Fu can be divided into two categories: one is to start a dialogue with fictional characters such as Zi Xu, Wu Fei, Mr. Wuwei and Ran Xuzi without explicitly prompting the subject and object; One is that the subject and object are distinct, such as "Jun Yue" and "Ke Yue" in Mei Cheng's "Seven Hair" spread alternately, in which "Ke" is at the center of discourse, and the final owner (Jun) is Ke Yan "@ (Note: Fei Zhengang et al. edited and corrected all Han Fu, Peking University Publishing House, 1993, No.2/kloc-0. ) Dong Fangshuo's Difficult to Answer a Guest, Yang Xiong's Jiechao, Ban Gu's Journey to the West, Journey to the East and Answer a Guest Play are all the words of the host. Among them, Ban Gu's works show the hint of "Hakka". " "Yue Bin" means that "Bin" asks questions first, and then the host gives a long answer. Fu is outspoken. Han Shu's Records of Literature and Art says, "Recite Fu without singing. "The chanting method of Fu style has a long history. Zuo Zhuan often uses" Fu "to recite poems, such as" Thirteen Years of Wengong ":"Writing April, Zi Jia wrote four chapters late, and wrote four chapters "(Note: Zhonghua Book Company photocopied Ruan's Notes on Thirteen Classics, the first chapter. The so-called "Fu" here means chanting and reading aloud, which is different from singing and speaking in rhythm and tone. Fan Wenlan's "Wen Xin Diao Long Shi Fu" notes: "Stealing doubt fu has its sound, which is different from chanting." (Noe: Fan Wenlan: Notes on Wen Xin Diao Long, People's Literature Publishing House, 1978, p. 137. Wang Xiaodun believes that "Fu" in the Six Books of the Zhou Dynasty sounds elegant, not "Feng" (irony) in the dialect. (Note: See Wang Xiaodun's Poems with Six Meanings, collected by the Institute of Chinese Studies of Yangzhou University, series 1, p. 1-56. In today's words, "Fu" means reading aloud in Mandarin. The same is true of the chanting of Han Fu. In a word, the question and answer of Han Fu has two meanings: Stylistically speaking, the guest asks a difficult question and the host answers it; In terms of voice, it means chanting between speaking and singing.
"Bai Bin" in Yuan Zaju should also have these two meanings. The previous explanation ("two people talk to each other as guests") reveals the first meaning; However, the implication of "singer" in Yuan Zaju implies a second meaning. Let's guess that anyone who talks in Mandarin is a "guest white".
Close to Buddhism:
However, the word "Bai Bin" and its singing method in Yuan Zaju may not be directly inherited from Han Fu. As we know, after the introduction of Buddhism in the late Han Dynasty, its thoughts and rituals had a great influence on all levels. In Buddhist lectures, the speaker is the "Lord" and the listener is the "guest". But when it comes to "discussion" or "discussion", it is necessary to "respect each other", ask and answer questions, and discuss the meaning of the classics together. Among the 12 Buddhist scriptures, there is "You Po Ti She", which is a transliteration of Sanskrit Upadesa, meaning "on" or "on righteousness". The origin of the theory of righteousness is very early. It was originally established to deal with the criticism of heresy and establish the prestige of Buddhism. Therefore, the so-called "object" should have been a heretic. But within Buddhism, it is also possible to "pretend to be the guest and the host", which is essentially a ritual and dramatic. There is a cloud in the first volume of Jing Ming Jing Guan Zhong Shi Copy written by Shi Daoye in Tang Dynasty: "A good girl brings home, and this cloud' talks about righteousness'. The host and guest come and go, explaining the reasons. " (Note: Zangzhu Volume 85, page 508. ) On Mahayana Belief written by A?vagho?a and translated by Liang Shizhen. There is a cloud in volume 1: "It is called" On "because it is false to establish the theory of analyzing the guest and the host back and forth." (Note: Zang Zhu Volume 44, page 245. ) Song Shi Zhiyuan's "Wei Mo Wei is afraid of Kyrgyzstan" has Yakumo: "The screen name is the main one, and Manjusri is the guest. The guest asks the Lord to answer, that is, back and forth. " (Note: "Da Zheng Cang" Volume 38, page 8 12. ) Buddhism was introduced into China and flourished for hundreds of years from the Six Dynasties to the Tang and Song Dynasties. Xiao Yan, Emperor Wu of A Liang, wrote four volumes of Records of Tang Daoxuan's Canon: "Whenever there is a major dharma meeting, the emperor will personally visit it to observe and discuss it. When the host and guest return, they feel the Tao. " (Note: "Da Qing Zang", Volume 55, page 267. ) the "return of subject and object" in this kind of discussion, or the near source of the opera "Guest White".
Originally, there was a trend of "Chu Shi's discussion" during the Spring and Autumn Period and the Warring States Period, and there was discussion among Confucian scholars in the Han Dynasty. After the introduction of Buddhism, Sanskrit Upadesa was translated by Lun and Lun Yi, and two lectures with similar styles were naturally combined. Therefore, it can be said that China's Buddhist discourse is the product of cultural exchange between China and India. In contrast, the discussion of Buddhism is far more important than that of Confucian scholars, which promotes the artistic and dramatic process of discussion. This is the main reason why we attribute the origin of the drama term "Bai Bin" to Buddhism.
On the discussion, Zhang Gong, Wang Xiaodun and others studied it from different angles. They pointed out: argument is a geisha in which at least two people participate, and it has the formal characteristics of questioning and refuting each other around several propositions; The discussion was very dramatic. The crosstalk performance of tǒng, a famous actor in Northern Qi Dynasty, and "Three Religions and Nine Currents", which was previously classified as legionary teleplay, are actually discussion performances. The main conditions for the final formation of the art of discussion are: the spread of Buddhism, the rise of clear talk and the prevalence of magic; In the Tang dynasty, discussion developed the inherent emphasis on wit and quick debate into a special form of entertainment; Turn the saints of the three religions and their classics into objects of ridicule and teasing. (Note: See Zhang Gong's Discussion on Confucianism, Buddhism and Taoism and Academic Changes in Sui and Tang Dynasties, Historical ResearchNo. 1993,No. 1; Wang Xiaodun's Pan Jianguo on Dunhuang, China Ancient Books Research, Volume 1, Shanghai Ancient Books Publishing House, 1997, Page 169-227. Undoubtedly, Shi Dong tǒng's mockery of the Great Virtue Monk Buddha and his performance "On the Balance of Three Religions" would have been unthinkable without the intervention of Buddhism.
But how did the serious preaching and preaching activities created by Buddhism itself become a mockery of itself? Turquoise Shen Qing's "Beishan Record" Volume 9 has clouds;
Yesterday, Zhou's On Two Religions and Sui Yanyuan's On Tongji were full of lofty thoughts. Pretend to set the host and guest, set a strange difficulty first, and then pass. ..... and later generations of Li Zhongqing, etc. , wearing a thief, hiding its communication, performing its difficulties, so as to make the saying of "ten different and nine fans" and so on. (Note: Zang Zhu Volume 52, page 628. )
This involves the dispute between Buddhism and Taoism. "Concealing what it is and performing what it is difficult to do" is indeed the key to changing the discussion activity from a serious lecture to a geisha performance. It is not difficult to imagine that when Buddhism first entered the Central Plains, it faced all kinds of doubts, challenges and even exclusions. The drama of "pseudo-establishing subject and object" was quickly used, and the nature of the discussion changed. Of course, this situation did not begin in the Tang Dynasty, but the dispute between Buddhism and Taoism in the Tang Dynasty was more acute.
In Buddhist literature, the relationship between subject and object in discussion is often clearly pointed out, and Dunhuang literature Bo 32 19 is positive (Note: See Chen Ruolong's The True Image of Dunhuang Buddhist Temple in Tang Dynasty, Taiwan Province Mainland Magazine, vol.86, No.61June 249-250. Do you still remember that the questions asked by the guest and the host in Dunhuang Buddhist lectures in the Tang Dynasty were marked with "guest questions" and "main answers" in turn? This kind of dialogue in the form of "difficult object" and "main answer" generally exists in lecture activities. If it is moved to a play, it is "guest white". In addition, Volume V of Beishan Lu has the question of "explaining the guest", and Bao Hui notes: "Suppose the guest and the host answer questions to explain our doubts." Look at the following scene:
The soldier said: the dream of the Han dynasty is not accounted for, and the transliteration is unclear. Have you listened to the believers here first?
Master said: Liao Tsai, how should I know! But the cloud that touches the stone is born in the skin; The water that shoots at the fish is not good enough for you. Why not? In the past, the Great Sage visited dū, whose country was in the South China Sea, and it was not far to go to summer, so the wind of micro-current could not be compared with it. ……
Bing said: In the past, the vultures shone, the saints were full, and the Dojo bypassed the Dharma realm. Why not cut Kong Ji Canon? People in Qin Luo have never met before. There will be no Great Sage, Zhang Yi?
The master said: fish dive without knowing water, but people can't see the wind on land. If you don't know what you live in, you don't know what you live in. If you can't see it, you can't see it. ..... (Note: "Da Qing Zang" Volume 52, pp. 600-607. )
The form of guest asking and answering is adopted throughout the book, which is very similar to Han Fu in style. However, because the discussion of Buddhism is closer to the people in time and space than that of Han Fu, its artistic and dramatic features are more likely to have an impact on the form of drama.
Therefore, it can be said that in the previous explanation of Bai Bin, the statement that "two people said" Bai Bin "and one said" nothing "was the closest to the truth. Because, whether it is the question and answer between subject and object in Han Fu or the "false establishment of subject and object" in discussion, it is a dialogue between two people, which cannot be completed by one person. Perhaps, the "Bai Bin" in Yuan Zaju was initially limited to urging the two to make initial attacks and questions. However, it is easy to confuse with white, so the existence of "object" loses its meaning, leaving only "white".
Recently, some scholars have suggested that the way of reading Buddhist scriptures in Chinese translation mainly comes from Han Fu. (Note: See Fu Junlian's A Probe into the Reading Style of Buddhist Scriptures in Chinese Translation, Dunhuang Studies, No.2, 2002, pp. 95-98. As mentioned above, Han Fu is read elegantly. The chanting of Buddhist scriptures mainly adopts transfer reading, and the difference is quite obvious. Limited to space, there is no distinction here. However, whether reading aloud or transferring, it is different from talking casually. The elegant recitation of Han Fu and the discussion of "back and forth between the guest and the host" all adopt the recitation between singing and speaking. There are two kinds of "things" in Yuan Zaju, one is "singing things", and the other is the hint white language inserted in singing, or "carrying clouds". We speculate that "Bai Bin" should be accomplished by chanting between singing and speaking.