(Liu Yun) Ah, what about the Imperial City?
(Su Yun) The walls of the empire collapsed and wormwood was everywhere.
(Zangai tears, cloud) Unexpectedly, this is the end of the story.
Su Yun: I walked all the way to Qinhuai again and stood there for a long time, but there was no one there.
The old courtyard of Changqiao (Liu Yun) is a familiar place for us to visit. You should see it, too.
(Su Yun) Why don't you look-there are no slates on the long bridge, only a pile of rubble is left in the old yard.
(Lu Jianxiong Jie, Yun) Well, I'm so scared to death.
(Su Yun) Looking back in a hurry, I was sad all the way and compiled a set of northern songs called "Recalling Jiangnan". Wait for me to sing (Knocking on the board and singing Yiyang tune) What a woodcutter! (singing)
Mourning the fresh water in the south of the Yangtze River, the mountain pine weeds brought flowers to pick them up, and suddenly they looked up and returned to Fuling. The remnant army leaves the abandoned base, and the thin horse lies empty; Guowa Village, a city facing the sunset.
Listening to the frequent wildfires burning in the horse, most grave keepers are anxious. The goat has escaped. When will the guardian escape? Pigeon hair bat dung is thrown all over the house, and litter is used as a step cover; Who sacrifices to sweep, the shepherd breaks the dragon hat.
Shen Zui Dongfeng has eight pillars and white jade, and the red mud is half as high as the wall. There are more broken glazed tiles and fewer rotten jade windows. Dancing with Dan, the birds always go straight to the palace gate in the morning and live in Artemisia, where some beggars are hungry.
The laurel-folding order asked about the old window of Qinhuai. The broken paper was in the wind and the rotten sill was in the tide, which broke my eyes. Where did Dai Dai play the flute in those days? It's boring to turn off the lights and boats and stop the noise. Bai Niao is fluttering, green water is surging, some yellow flowers are flying, and no one can see the new red leaves.
Selling wine, you remember the Qingxi Banli Bridge, without the old red board. There are too few people in autumn water, and there is a lonely sunset, leaving a weeping willow bent over.
Taiping Ling walked to the old gate without knocking, and was not afraid of Cleisthenes's barking. It's nothing more than a dry well and a broken nest. It's just bricks and moss to make grass. Plant flowers and willows by hand, and do your best to pick firewood; Whose kitchen stove is this black ash?
I left the pavilion banquet after a short break, which means that I have seen the Jade Palace singing in Jinling and the waterside pavilion in Qinhuai open early, but it is easy to melt! Watch him rise from Zhu Lou, watch him entertain guests, and watch his building collapse! This mossy pipa pile, I used to sleep happily and watch the rise and fall of 50 years. That Wuyi Lane is not surnamed Wang, Mochou Lake is a night crying ghost, and Phoenix Terrace is an owl. The remnants of Meng Shan are the most authentic, and it is difficult to lose the old land. Don't trust this map! A set of "Sorrow for Jiangnan", playing sad songs to the old. Kong Renshang (1648- 17 18), a famous hire, whose real name is Ji Chong, was born in Dongtang, Antang, Tingyunshan, Qufu (now Qufu, Shandong Province), and the sixty-fourth grandson of Confucius, a drama writer and poet in the early Qing Dynasty. He once lived in seclusion in Shimenshan, Qufu, reading and writing, with questions, fine melody, and good at writing words and songs.
In the 22nd year of Kangxi (1683), when Emperor Kangxi visited Qufu in the south, he was called to give lectures and was appreciated by Kangxi. "Tezhen is Dr. imperial academy"; Reluctantly moved to the position of director and foreign minister. In the twenty-fifth year of Kangxi (1686), he was sent to harness the river in Huaiyang area with Sun, assistant minister of the Ministry of Industry. During this period, he has been to Yangzhou and Nanjing, making friends with old adherents, hanging Nanming relics, collecting rumors in the late Ming Dynasty, and preparing materials for later writing Peach Blossom Fan. In the 28th year of Kangxi (1689), he returned to Beijing. After ten years, three drafts were changed, and in the thirty-eighth year of Kangxi (1699), the legendary drama Peach Blossom Fan was written. For a time, "the princes recommended the gentry, and they all borrowed books" and performed on the stage. "There is no empty day at the age." The success of Peach Blossom Fan made him famous in the literary world. At that time, people compared him with Hong Sheng, the author of The Palace of Eternal Life, and called him "Hong Bei Kong". In the second year (1700), he was dismissed for "mystery" and soon returned to his hometown to live until the end of his life. In addition to Peach Blossom Fan, there are legendary Lei Hu (co-written with Gu Cai) and poetry collections, such as Hu Hai Ji, Ben Dang Ji and Chang Liu Ji. It consists of seven songs: the first one is an introduction, which describes the desolate scene of the postwar suburbs that Su Kun saw when he came to Nanjing again, and sets a gloomy and sad tone for the full text. The second to sixth tones are about Su Kunsheng's mourning for the former capitals, focusing on the decline of Ming tombs and the Forbidden City and the neglect of Qinhuai area (including Longbanqiao and Laoyuan). Through comparison, it highlights the historical changes of the rise and fall of Nanming, and reflects the grief for the infinite nostalgia of the old country. The seventh chapter is the conclusion. Su Kunsheng always hangs over Nanjing, lamenting the changes of Nanjing's past and present scenes, mourning the demise of Nanming and singing a strong lament of national subjugation. Finally, "the remnants of Meng Shan are the most real, but it is difficult to lose the old territory. Don't trust this map. A set of "Mourning Jiangnan, Singing to the Old" points out the main idea of the whole article.
Emotion in the scene: this set of songs first lays out the scenery and contains the emotion in the scene; After the direct expression of the chest, generous elegy. Starting from the first two sentences, the first six pieces of music take the trace of Fu, a composer of music education, as a clue, from far and near, from suburb to Xiaoling, from Forbidden City to Qinhuai, from Banqiao to Laoyuan, describing the bleak scene of Nanjing after the demise of Nanming, showing the unrecognizable changes in Nanjing. In the description of the scenery, there is infinite grief for missing the old country, and I feel comfortable in the scenery without expressing my feelings. These six songs are all concentrated on writing scenery with pen and ink, running through in one breath and creating momentum at different levels, which makes the lyric of the seventh song come naturally, burst out suddenly and touch people's hearts.
Accurate language: This set of music is accurate, vivid and vivid. For example, the word "Dancing on the Danhuan", a word "dancing", describes the scene of birds jumping around the Danhuan, and a word "Chao", which links this scene with the solemn etiquette of courtiers to visit the son of heaven, giving people a contrast between the past and the present, showing the extreme decline of the holy court in the past today; The word "one willow bent over" is meaningful, indicating that there is not only a willow tree here, but also a willow tree and the only willow tree left among many willows in the past, which makes people want to see the beautiful scenery of the green willow, full of infinite desolation.
Prose poetry: at the end of the song, use antithetical sentences and parallel sentences, and use three prose poems at the same time. The sentence patterns are neat, parallel, patchwork and clear. It is easy to read, fast, powerful and generous. Plot of Peach Blossom Fan: Peach Blossom Fan is a famous legendary drama in the history of China literature. There are forty-four plays in the whole play (forty plays and four plays plus one each). The script was written by Li, a famous prostitute in Qinhuai, in order to avoid the Nanjing Rebellion. They fell in love at first sight. The next day, Xiang Jun learned that the wedding expenses were all paid by eunuch Ruan Dacheng, intending to buy off Hou Fangyu, so she immediately removed her makeup, but she refused, and advised Hou Fangyu to refuse. Ruan bears a grudge. He sent a book written by Hou Fangyu to dissuade Zuo Liangyu, the chief commander of Wuchang, from leading his teacher to the East. He framed Hou Fangyu as a leftist inside man and encouraged Ma Shiying to kill Hou Fangyu to vent his personal anger. Hou Fangyu got the news and fled to Shi Kefa for refuge. Shen Jia in March, Li Zicheng into Beijing, Chongzhen hanged himself. Ma Shiying, Ruan Dacheng and others established the Axe King in Nanjing and the Nanming Dynasty. The treacherous court official ignored the state affairs and indulged in singing and dancing. Ruan Dacheng forced Xiang Jun to remarry Tian Yang, but Xiang Jun refused with death, bruised his cheek and spattered his face with blood. Yang dyed the blood spots on the fan into peach blossoms. Ruan Dacheng called for "searching the old courtyard widely and choosing the land near Qinhuai", but Xiang Jun was not spared. She scolded the traitor for being shameless and was sent to the palace as a geisha. Back in Jinling, he was captured by Ruan. Soon, the Qing army attacked Yangzhou, forcing Axe King, Ma Shiying and Ruan Dacheng to flee. Hou Fangyu was released from prison, and Xiang Jun escaped from the palace. Finally, when they met Li in Qixia Mountain, Yiu Sing Cheung, a Taoist priest, awakened them with national hatred. They couldn't bear to watch the country perish, and they all joined Taoism.
Ideological content of Peach Blossom Fan: Peach Blossom Fan is a historical legend created by Kong after more than ten years of long-term brewing and on the basis of mastering a large number of historical materials, according to "true stories". It describes the tragic history of the downfall of the imperial court in the late Ming Dynasty. The love story between Fu She literati and Qinhuai prostitute Li runs through the whole play and ends in the seclusion of the Qing rulers. By describing some important historical events related to love stories in the late Ming Dynasty, the author tries to reveal the reasons for the subjugation of Nanming and express the so-called "sense of rise and fall".
(History of China Literature, Institute of Literature, China Academy of Sciences, People's Publishing House, 1987 edition)
The ideological significance of Peach Blossom Fan is that after the demise of the Ming Dynasty, Kong was the first to show the complicated social and ethnic contradictions in the late Ming Dynasty in the form of drama, evaluate the history of Nanming, and artistically summarize this historical lesson. The works reveal the fatuous corruption of the small court in Nanming, the sharp contradiction between the upper ruling clique and its military leaders, depict the ferocious features of Ma Shiying and Ruan Dacheng persecuting the Qing Dynasty and innocent people, and lash out at their capitulationist nature in times of national crisis. In the performance of positive characters, Kong described Shi Kefa's determination to fight against Qing soldiers, and showed his heroic spirit of dying for his country after "the country changed". The author praised Li's valuable integrity in caring about the fate of the country and resisting evil forces, and affirmed the sense of justice and national integrity of folk artists Liu Jingting and Su Kunsheng who saved the country from peril at all costs, as well as their spirit of justice and national integrity with other prostitutes, artists, booksellers and other lower-class people who opposed power rape, cared about state affairs and refused to obey the people. In the strong contrast between the positive and negative characters, people can see "the inheritance of the Ming Dynasty for 300 years, to whom, to what, to which year and where?" (Introduction to Peach Blossom Fan) The historical tragedy of the country's ruin and the "exchange of map manuscripts" inspired contemporary people's feelings for the motherland and awakened the potential national consciousness.
(China Encyclopedia of China Literature, China Encyclopedia Publishing House, 1986 edition)
The divertimento "Mourning for the South of the Yangtze River" in Peach Blossom Fan is borrowed from Jia Fuxi's "Drum Poems of Past Dynasties": Jia Fuxi (about1590-about 1676), whose name is Ying Chong, whose word is Si tui, whose name is Fu and whose name is Lian Po. His Mupi Drum Poems (including Drum Poems of Past Dynasties and Qi Yi of Taishi Zhi) are outstanding achievements of the combination of literati creation and folk literature and art at that time, and have epoch-making contributions and far-reaching influences on the development of China folk rap literature and art. For example, Kong, a famous dramatist in the Qing Dynasty, included the song "Feeling in the South" at the end of Qi Yi of Taishi Zhi, the Peach Blossom Fan composed and sung by Jia Fuxi, and When he was a teenager, Kong interacted with Jia Fuxi, who had national integrity and dared to attack social abuses. Jia Fuxi's political attitude has a great influence on Kong. When discussing Confucius' life thoughts, Preface to Peach Blossom Fan pointed out: "It is worth noting that Jia Fuxi, a patriotic poet in the late Ming Dynasty, influenced his youth thoughts and became an inspiring force for him to reflect the rise and fall of Nanming in the form of popular literature." To this end, Kong specially wrote "Mupi Personal Travel Notes" to Jia Fuxi, and praised him.
There are seven pieces of "Sorrow for Jiangnan" in "The End of Drum Songs in Past Dynasties" with the same brand and lyrics as "Sorrow for Jiangnan" in "Peach Blossom Fan", and each capital has its own topic. Its qupai and topics are as follows:
Lingcongqi in North Shui Xin, listening to horses hanging Jinling, indulging in the east wind hanging the Forbidden City, folding the laurel steps hanging Qinhuai, selling fine wine hanging the Long Bridge, Taiping Ridge hanging the old courtyard, and taking a rest at the banquet hanging Jinling.
(Note: "Hanging Jinling" in Listening to Horses means hanging Xiaoling Mausoleum, and "Hanging Jinling" in "Xieli Pavilion Banquet" means hanging Nanjing, that is, hanging Nanming Zen) (see Guan Dedong and Zhou Zhongming's Collation of Jia Fu Xi Mupi Ci, Qilu Bookstore 198). It has the following main differences from zaju.
1. The general rule of the zaju system is to fold 40% and get a wedge, without the title; Legend has it that it is not called "folding", but "out", and an item is added. The number of projects is uncertain, mostly 40 to 50.
Articles. Legend has it that there is no wedge. The first one is a "door", also called an "opening". The vice end explains the creative intention and introduces the general situation of the plot, which is not an integral part of the plot. After the opening, the second scene is the highlight. The opening is a epigraph, not a qupai.
2. Legends, like zaju, have singing, singing and singing, but unlike zaju, one role sings to the end, but all kinds of roles can sing, including solo, duet, rotation and chorus; Legend calls it "solution" rather than "gram"; When important people come on stage, they sing an introduction first, then a fixed dialogue, and each scene has a poem.
3. Zaju and Legend adopt the way of Qupai ensemble in music. The difference is that Zaju ensemble is limited to one palace tune at a time, which rhymes to the end; Legends are not limited to using only one Gongdiao for each release, but can rhyme. The northern song dynasty was used as the aria of zaju, and the southern song dynasty was used as the legend, which absorbed the northern song dynasty and created the method of "combining north and south" For example, Memorizing Jiangnan in Peach Blossom Fan is a set of northern songs. The northern music is heroic and majestic, and the southern music is gentle and charming, so the musical style of legends and zaju is different.
4. Legendary roles are similar to zaju, but with more roles and finer division of labor. The protagonist of the zaju is Mo Dan, and the legendary role is Sheng Dan. Legend has an ending, but it is not the protagonist.
In short, compared with zaju, legends are larger in scale, richer in tunes, more detailed in role division, more free and flexible in form, and easier to express life.