Or "Yuan Qu" or "Northern Zaju", which is a kind of traditional drama in China, was sung by northern songs in the Yuan Dynasty. The late Jin Dynasty and the early Yuan Dynasty originated in the northern part of Shen State, and developed on the basis of Song Zaju and Jin Benyuan, and widely absorbed artistic elements such as music, rap, song and dance since Song and Jin Dynasties. Yuan Zaju was first popular in the north of China, and gradually spread to the south of Shenguo after the demise of the Southern Song Dynasty (1279). At the end of the Yuan Dynasty, Yuan Zaju gradually declined, and Ming legends developed after Song, Yuan and Nan operas took its place. The formation of Yuan Zaju is an important symbol of the development of Shen's traditional opera art to a mature stage. Its performing arts, in addition to directly inheriting Song Zaju and Jin, are also integrated with other arts, such as scripts, tunes, dances, martial arts, puppets, shadow play and so on. And form a performing art of speaking, singing and dancing.
2. Fold and Wedge of Yuan Zaju
Yuan Zaju sings four sets of songs with different Gongdiao at a price of 60% per volume, and each fold consists of a set of songs with the same Gongdiao, with a "wedge" if necessary.
edge in
Independent paragraphs have been added beyond 40% of the original zaju. The space is very short. Usually placed at the beginning of the play, sometimes used between two folds to connect the plot, similar to the cut in modern opera.
3. Bai Bin and Ke Fan in Yuan Zaju.
Bai Bin: Two people said they were guests, and one said he was white.
Ke Fan: The main action performance and stage effect stipulated in Ke Fan's script of Yuan Zaju.
4. Southern Opera: Southern Opera, also known as "Wen Xi", is a kind of opera sung by Nanqu in the Song and Yuan Dynasties. Because of its origin in Wenzhou, Zhejiang, it is also called Wenzhou Zaju. Generally speaking, Southern Opera is one of the earliest mature forms of China Opera.
5. Sanqu: It is a chorus of long and short sentences combined with music. After a long period of brewing, it absorbed some popular folk lyrics and national music in the Song and Jin Dynasties, and gradually formed a new form of poetry. Jin and Yuan Dynasties were popular in the north, so Sanqu was also called Beiqu. It includes two main forms: small orders and copies.
6. Xiao Ling: Qu is divided into regions, including Nanqu and Beiqu; According to the function, there are Sanqu and Opera. Sanqu has no white subject, while drama has white subject. The so-called white is action and white. Sanqu is different from Sanju and Xiaoling. The prose collection consists of songs with the same tone or tube color, with a rhyme from beginning to end; Most poems are just songs, each with its own rhyme. There are four kinds of poems: 1. Ordinary poetry; 2. Choose melody poems; 3. Transfer songs; 4. Collect songs.
7. Set number: Sanqu includes poetry and set number (set number). The number of songs is a coherent set of songs, ranging from two to dozens. Each group number takes the song of the first song as the name of the whole set of songs, and the whole set of songs must be in the same palace tune. It has no guests, but only oratorios.
8. In the production of Yuanqu, two or three ditties with the same tone are used to express the same content. This form is called "substitution". Tune-picking is a tune-picking in the same palace tune, for example, George's "Wild Goose Falls and Desheng Orders?" "Farewell": "diligent red leaf poetry, cold yellow flower market. Clear water and Tianshui stationery, white geese and clouds. (Wild Goose) Wherever a wanderer goes, there is no place to pronounce new words. The wine wakes up and the lights are dim, and the window is cold in the dream. Ten years of thinking, talking and laughing. Counseling, romantic sideburns. (The above "Desheng Order") "The function of guiding songs is mainly to supplement the lack of word meaning expression. Overtaking music often forms a habitual dual-band relationship. A music card often carries a music card, and they generally rhyme. Taking a song is different from repeating a song or a paragraph, it is the repetition of the same song. There is usually a blank space between the strips. Common songs with ribbons are: Gong Zheng's "Liang Xiaoguo undressed", Lu Nan's "Scold Yu Lang for thanking the Emperor or Picking Tea", double-carved "Narcissus makes the laurel break", double-carved "Wild geese fall with the Qinghe River", double-carved "Chu Tianyao leads the Qinghe River", middle road "Happy Three Beloved to the Emperor" and middle road "Happy Spring with Universal Music".
9. The reason why Beiqu is called Beiqu is to distinguish it from Nanqu popular in the south since the Southern Song Dynasty. Beiqu is divided into traditional opera (or drama) and Sanqu.
10. north-south Hetao
North Hetao: divided into north and south. Nanqu uses five tones, and the rhyme is based on the pronunciation of the south (mainly in Jiangsu and Zhejiang provinces). There are four tones in Pingdiao, and Nanqu in Song and Yuan Dynasties and Nanqu in Ming and Qing Dynasties are the main ones. The northern music uses seven scales, and the rhyme is based on Zhou Deqing's "Central Plains Rhyme" in the Yuan Dynasty. Yuan Zaju mainly uses Beiqu. North and South Ququka are different. Generally speaking, Yuan Sanqu refers to northern music, and some of it is southern music. Here is a group of songs from North and South for your reference.
1 1. Ghost book
China's monograph on historical materials of traditional operas. Written by Zhong Sicheng in Yuan Dynasty. Two volumes. The first draft was completed in the first year of Yuan Dynasty (1330), and was revised twice in two years (1334) and five years (1345), including 152 writers of Yuan Zaju, and there are more than 400 existing Yuan Zaju works.
12. The words added to the promises specified in the mezzanine qupai are called "mezzanine". Its function is to supplement the semantic omission of orthography, make its content more complete and substantial, make the language more detailed, rich or vivid, or make the text more compatible with the music melody. One of the main differences between songs and words or poems is that they can be sandwiched in the middle. It enables Wen Qu to be more flexible and free in writing and word-making, without being bound by the rules. Xiaoling uses fewer interlayers and more divertimentos. In addition, interlining is more common in zaju, but less used in Nanxi. Interlaced words are generally used at the beginning or end of a sentence, but rarely used at the end of a sentence. In music scores, lines are often written in small print to distinguish them from positive ones. Generally, the interlayer does not occupy the beat and tone of music, and it is often taken over quickly and rhythmically when singing. The auxiliary words at the beginning of a sentence can be content words (such as nouns and verbs) or function words (such as conjunctions, auxiliary words, pronouns and adverbs). For example, in Gui Ying by Wang Kui of Shang Zhongxian, there is a sign of integrity standing on the front steps of the temple, and "money" and "zhe" are words between lines. Sometimes, the word between the lines is a sentence, such as the rain in Bai Pu, "I personally hold Yi Deng, jade is cold in spring", and the sentence before the word "jade" is a village word. Sometimes the mezzanine can be as many as ten or twenty words. For example, in Huang Zhongwei by Guan Hanqing and Lu Nan, "I am a copper pea that is not ripe, fried, exploded, broken or cracked", and the part before the word "sound" is the interlayer. The number of words is increased between lines without changing the original score, which shows that the syntax of the song is quite free and changeable. Proper use of interlining can make syntax flexible and diverse, and enhance the colloquial and visual features of Wen Qu.
13. When it's time to do it, it's time to comment on classical operas. This concept comes from poetics and contains the meaning of an expert. Yan Yu's Cang Shi Lang Dialect talks about "poetic method" and thinks that poetry should be "natural and suitable". Drama theorists in Ming Dynasty followed the concept of "being an actor", that is, they were experts in writing plays. Drama writers need to master and play the role of drama system. However, due to different perspectives, the Ming Dynasty drama theorists have different interpretations. Shen Jing thought, "How do poets behave, how do singers keep their mouths shut, and everyone talks about melody in detail?" (On Qu by Mr. Ci Yin) He looks at the problem from the perspective of music and thinks that being an actor requires mastery of melody. Ling Mengchu said in "Talking about Qu Miscellanies": "Qu began in Hulao Pass, but generally it is important to do it, but it is important not to do it. When it comes to being a walker, it is true. " He believes that acting is a requirement for language, which is the same as its true nature. Only by grasping the natural characteristics of traditional Chinese opera language can we be considered as a master of drama writing. Therefore, he strongly opposed the Chinese playwright's "embellishment and cramming". Lu Tiancheng also put forward: "When you talk about this practice at the same time, the true colors only refer to the lyrics. When you don't organize your study, you have your own joints and you can't increase or decrease at all; If you organize, you are doing it with cockroaches. The real color is not in Moeller's daily language, and there is no organic interest in it, so you can't wear a little makeup; If Moeller is eroding his true colors. ..... I don't know if the fruit belongs to the line, then the sentence will be more natural; If it is true, then the situation must be right. " (Qupin) He doesn't agree to look at the problem of being an actor only from the perspective of drama language, but thinks that it is necessary to look at the problem of being an actor from a broader perspective, requiring drama writers to master the rules and characteristics of drama structure, drama language and characterization. He also emphasized the connection between being an official and his true colors.
14. Conclusion
Terms of China Opera Music. The end of the continuum. It is also useful to finish with a loose board, such as [earning evil] and [stopping evil]. The epilogue used at the end of the whole Beijing opera is based on Kunqu opera. The end can be played in segments, feathering mode. Beijing opera also has a grand finale. On the basis of the epilogue of E, the melody in the second half becomes higher and the emblem pattern gathers. Obviously, this is suitable for the needs of banqiang music and mode. Nanqu, the last song in the Northern Music Suite, is a music card played with suona at the end of each scene. The last part of a movement in a large piece of music. The ending of a literary work. To a stage where the activity is about to end.
15. Tiger style
From the Yongle period of the Ming Dynasty, a kind of so-called "Taige Style" poem appeared. Its sponsors are called "Three Yang", namely Yang Shiqi, Yang Rong and Yang Pu, all of whom are "Taige ministers", so they call their poems "Taige style". Its appearance is a retrogression in poetry creation, because it only pursues the so-called "elegance" and is full of praise and flattery to the emperor. It is not innovative and lifeless, and its influence is not as good as the "Kunxi style" in the Song Dynasty.
16. Chaling brand
From Chenghua to Hongzhi in the early Ming Dynasty, Li Dongyang presided over the poetry circle as a cabinet minister, and followers flocked to form the "Chaling Poetry School" named after his native place. In view of the petty style of Taige style, this paper puts forward the viewpoint of "Yi Song peeping into the Tang Dynasty", puts forward the retro view of Han and Tang poetics, and emphasizes the mastery of the tone of statutes. Because he stayed in a pavilion for 40 years, his poetic style is graceful and elegant, fair and elegant, and still echoes the pavilion style. Other works, on the other hand, get rid of the taige style and show a broad social perspective, showing the author's personal true feelings and mental state. Natural and fresh, full of interest, not carved, with a strong flavor of life.
17. Qianhouqizi
At the beginning of the Ming Dynasty, the eight-part essay examination system was developed and implemented, and it became more and more mature and stereotyped. The neo-Confucianism dogma of Cheng and Zhu became the exclusive ruling thought through the eight-part essay examination, which formed a strong spiritual chain, firmly bound the thoughts of scholars and seriously hindered the development of social culture. The "Tiger Wind" of Sanyang has still permeated for some time. In this way, Wang Yangming's mind movement appeared in philosophy, and the \ "First Seven \" retro movement appeared in literature. They rise at the same time, apparently to break through the dominant position of Zhu Cheng's Neo-Confucianism dogma, stereotyped writing and Taggart style, so that philosophy and literature can serve the ruling class more effectively.
The first seven children are He Jingming, Bian Gong, Kang Hai, Wang and He.
During the reign of Jiajing Wanli, foreign invasion became more serious, social contradictions became more complicated and sharpened, and the rule of Ming Dynasty became increasingly corrupt. In literature, the "last seven scholars" represented by Li Panlong and Wang Shizhen once again launched the retro movement, repeating the mistakes of the "first seven scholars".
18. Tang and Song School
During Jiajing period, Wang, Mao Kun, Gui Youguang, etc. It emerged as the opposition between the first seven sons and the last seven sons, and inherited the established tradition of advocating ancient Chinese literature since the Southern Song Dynasty and Zeng Wangsu. Because they advocated the ancient prose of Tang and Song Dynasties more consciously, they were called "Tang and Song Dynasties".
19. Public Security School China Ming Dynasty Literature School. Representative figures are Yuan Zongdao, Yuan Hongdao and Yuan Zhongdao. Because of the native place of Huguang Public Security (now Hubei), it is called the School of Public Security. Its important members include Jiang Yingke, Tao Wangling, Huang Hui, Lei Siwei and others. The members of the public security school mainly lived in Wanli period. After Hongzhi in the Ming Dynasty, the literary world was dominated by the former and the latter seven scholars, and the retro argument that "literature must be in the Qin and Han Dynasties and poetry must flourish in the Tang Dynasty" had a great influence. Gui Youguang and other writers in the Tang and Song Dynasties fought hard, but failed to correct their abuses. Later, people of insight such as Li Zhi and Xu Wei criticized the retro school one after another, and actually became the pioneers of the public security school. The biggest blow to the retro imitators is the public security school.
Zongdao, Hongdao and Zhongdao are collectively called the three elements of public security. The literary thought of the Public Security School originated in Yuan Zongdao. Yuan Hongdao is the backbone and the actual leader. Yuan Zhongdao further expanded their influence. The literary ideas of the public security school mainly include the following three points: ① Oppose attacks and advocate change. They lashed out at the tendency of the former and the latter seven scholars to copy words and eat the old books, and advocated that literature should keep pace with the times and break through all the barriers that bound literary creation. (2) express your spirit, not stick to one pattern. The so-called "soul" is the writer's personality and true feelings. They believe that "poetry is true if it comes from the soul", and then emphasize that they will not write unless it comes from their own heart. (3) Emphasize folk novels and advocate popular literature. The public security school attaches great importance to drawing nutrition from folk literature, and gives high praise to folk songs and popular novels, and even praises Water Margin as more bizarre than Historical Records, which is related to their literary development view and innovative theory, and plays a positive role in improving the social status of folk literature and popular literature. The public security school has made great achievements in liberating the style of writing, and its travel notes, letters and essays are all very distinctive, either elegant and fresh, or lively and humorous, and they form their own family. However, in real life, they passively avoid the world, and their poems are mostly trivial or natural scenery around them, and their creative themes are not wide enough, so their creative practice failed to reach the theoretical height of their literary proposition.
20. Jingling School Literature in the Late Ming Dynasty. Headed by Zhong Xing and Tan, they came from Jingling, hence the name. Also known as Jingling School or Zhong Tan School.
After the middle of the Ming Dynasty, there was a strong trend of "seven scholars" imitating the law, and "literature must be in the Qin and Han Dynasties, and poetry must flourish in the Tang Dynasty" became the criterion for judging poetry. Tang and Song Dynasties and Public Security successively resisted and criticized it.
Jingling School thinks that the works of "public security" are vulgar and superficial, so it advocates saving them with the style of "deep loneliness", advocating that literary creation should show "spirituality" and opposing the tendency of imitating the past. The so-called "spirit of nature" refers to the "spirit of nature" in studying ancient poems, which is nothing more than the "deep and lonely" style advocated by "sentimental single thread" and "each going his own way and quietly sending it away". It means that the style of writing is innovative and different, and the subtle meaning is deliberately pursued, forming the creative characteristics of Jingling School: deliberately carving words, novelty and difference, and language. Jingling School, like Gongan School, played a progressive role in the anti-imitation ancient prose movement in the late Ming Dynasty, which promoted the emergence of a large number of essays in the late Ming Dynasty and beyond. However, the narrow theme and difficult language of their works restrict the development of their creation.
The followers of Jinling School include Cai, Zhang Ze and. Most of these people develop the disadvantages of Jingling School, and often give a little help, calling themselves "ethereal", which makes Jingling School's writing style go to extremes.
It was Dong Liu who was influenced by Jingling School at that time, and his "A Brief View of the Imperial Capital" became one of the representative works of Jingling School.
2 1. Wujiang Opera Literature in Ming Dynasty. Its leader is Shen Jing and Wujiang (now Wujiang, Jiangsu). Gu Dadian, Bu, Bu, Feng Menglong, Shen, Yuan Yuling, Fan Wenruo, Wang Tingne and Shi□ have always been considered to belong to this school. The main contents of Shen Jing's drama theory are: the composition should be "in accordance with the law" and the language should be "out of line". He sorted out the music score of Thirteen Tunes in Nanjiugong, determined the music score, stipulated the syntax, marked the tone and rhyme of words, and pointed out the norms for composers. Shen's theory and the practice of Wujiang writers have played a positive role in reversing the bad atmosphere of the couple divorced from the stage reality and advocating desk drama in the early Ming Dynasty. Shen Jing, on the other hand, put too much emphasis on temperament and rhythm, arguing that he would rather "not work" than "coordinate rhythm" He advocated the "true colors" of traditional Chinese opera language in order to oppose the decadent trend of couples in the early Ming Dynasty. However, due to his narrow understanding of "true colors" as just using "colloquial slang" and "copying common sayings", there are also disadvantages. Shen Jing and Tang Xianzu had a heated debate on creative methods during the Wanli period. Because Wujiang School's innovative thought is mainly embodied in form rather than content, its influence and significance are far less than Linchuan School's, and even criticized by later generations.
22. Four-tone ape
Xu Wei wrote many absurd poems and created some short plays and zaju. His zaju "Four Sounds Apes" has been praised by Tang Xianzu and others, and it also occupies a place in the history of China opera.
23. Linchuan Four Dreams
"Four Dreams in Linchuan" refers to The Peony Pavilion, The Story of Purple Hairpin, The Story of Handan and The Story of Conan written by Tang Xianzu, a playwright in Ming Dynasty.
About the author: Tang Xianzu, a famous dramatist in Ming Dynasty, was born in Linchuan, Jiangxi (now Fuzhou, Jiangxi). His real name is Hai Ruo. Born in the 29th year of Jiajing (A.D. 1550), he died in the 44th year of Wanli in Ming Shenzong (A.D. 16 16).
24 "San Yan Er Pai"
It is a collection of short stories widely circulated in ancient China and occupies an important position in the history of China literature.
25. Verve theory
A Poetic Creation and Comment Proposition of China's Ancient Poetic Theory. This was advocated by Wang Shi in the early Qing Dynasty. In the early Qing dynasty, he ruled the poetry world for hundreds of years.
26. Model theory
The model theory was put forward by Shen Deqian during the reign of Qing Kang Gan. "Gezhi" originated from Yan Yu, who believed that thoughts and feelings were the decisive factors of formal style. It is argued that creation is beneficial to gentle and honest "poetry teaching" and there are works of "righteousness and harmony" that complement the world, so it belongs to the "style" with laws to follow and Tangyin as the standard.
27. Texture theory
China poetics advocated by Weng Fanggang in Qing Dynasty. Texture originally refers to the texture of muscles. Weng Fanggang talks about poetry through muscles, in which reason refers to benevolence, righteousness, arts and sciences, and texture refers to Confucian classics and knowledge, and sometimes also refers to arts and sciences. He regards Confucian classics and knowledge as the basis of poetry. Weng Fanggang's muscle theory is actually a reconciliation and revision of Wang Shizhen's verve theory and Shen Deqian's mode theory. He made a new interpretation of verve and style with texture, aiming at reviving the theory of ancient poetry and competing with Yuan Mei's theory of soul.
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28. Theory of mind
China's ancient poetics advocated a kind of poetry creation and criticism, and Yuan Mei advocated it most strongly in Qing Dynasty. It, together with verve theory, mode theory and texture theory, is called one of the four major poetic theories in the early Qing Dynasty. It is generally believed that Yuan Mei's theory of soul is his poetic theory. In fact, it is the inheritance and development of the poetic theory of "expressing one's own spirit and not sticking to one pattern" represented by the public security school in Ming Dynasty (Yuan Hongdao's Preface to a Little Poetry).
29. Tongcheng School
Tongcheng School is the largest prose school in the middle of Qing Dynasty. Representative writers are Fang Bao, Liu Dakui and Yao Nai, all from Tongcheng, Anhui Province, so they are called Tongcheng School.
30. Zhexi Ci School
Represented by Zhu Yizun. Zhu Yizun (1629- 1709)
), Zi Zi,No. yi zhu, was born in Xiushui, Zhejiang (now Jiaxing). In the mid-Kangxi period, Buyi wanted to take an examination of Confucianism and review for imperial academy. When he was young, his family was poor, he worked hard in machinery and learned a lot of engineering poems. He compiled more than 500 poems from Tang, Song, Jin and Yuan Dynasties into A Collection of Ci, and wrote A Collection of Lushu Pavilion. He is a representative figure of Zhexi Ci School. In the Southern Song Dynasty, Jiang Kui and Zhang Yan were the main poets of his ci. He made great efforts in the rhythm of words and the choice of words and sentences, and made remarkable artistic achievements. For example, in his own poetry collection "Xie Peiling", "After ten years of grinding a sword, five tombs (Chang 'an has Changling, Anling, Yangling, Maoling and Ping Ling) made friends, and all their lives were filled with tears. Always writing lyrics, half and half, spreading hatred in the air. After many twists and turns, Yan chai cicada temples. Not to learn from Chyi Chin (Qin Guan) or Huang Jiu (Huang Tingjian), but to rely on Xin Sheng and Tian Yu (Zhang Yan). Let's expand the Jianghu, divide the money and have a good meal. It is expected that the seal will be sealed, and there will be no points. Between the lines, I told my life and my interest in lyrics. My style is lofty and my language is beautiful.
3 1. Changzhou Ci School
Zhang Huiyan is the representative. For the life of Zhang Huiyan, see the third section of the previous chapter. He is the leader of Changzhou Ci School. He opposed the low popularity of the West Zhejiang School, and his choice of words was mainly about deep beauty and beauty, paying attention to comparison, respecting Zhou halal and restraining Zhang Yan. Contrary to what Zhejiang West School advocated. The Selected Poems also included the words of Changzhou people such as Zhang Huiyan, Zhang Qi, Huang Jingren and Ji Jing, forming the Changzhou Ci School. Later, Zhou Ji (1781-kloc-0/839), a native of Yixing, Jiangsu Province, was a scholar of Jiaqing, who managed the compilation of Ci by Professor Huai 'an and the compilation of Song Sijia's Selected Poems, which greatly promoted Zhou Bangyan, Xin Qiji, He Wang and others and expanded the influence of Changzhou Ci School. After Jiaqing and Daoguang, Changzhou School was all the rage. However, its last stream is trapped in the disadvantages of antique, and its meaning is obscure and difficult to guess.
32. "Zhu Chencun Ci"
Kangxi, it should be learned and learned, and the official Hanlin Academy has reviewed it. Palace-style prose and parallel-style prose are especially good at words, and they are rich in words, totaling 1,800, which is unparalleled in number. He imitated Su Shi in the Northern Song Dynasty and Xin Qiji in the Southern Song Dynasty. He is famous for his Zhuang language and has close ties with Jiaxuan. He once co-wrote a manuscript with Zhu Zunyi of Zhexi School called Zhu Chencun Ci.
33. Four Songs of Ann
Li Yi has four kinds of music: Li Yu is the most famous of Suzhou School. Li Yu, whose real name is also called the master of the nunnery. Among the plays he wrote before the Ming Dynasty, Four Songs of One Ang Lee is the most important. A pinch of snow, the relationship between man and beast, the eternal reunion and the exhibition of flowers are collectively called One Man Forever.