Graceful and restrained means implicit. This word first appeared in the pre-Qin period, and people used it to describe literary words in the Wei, Jin and Six Dynasties, such as Chen Lin's Book for Yuan Shao and Gongsun Zan: "The word is graceful and graceful. "Lu Ji's Wen Fu:" or "clear and graceful". "In the history of ci poetry, femininity has long been a habit. The lyrics were originally written for concert singing. At first, the purpose of singing was to entertain guests, and the occasion of singing was nothing more than your home in the palace, the Chuge in Qin Lou. Therefore, the content of the lyrics is nothing more than leaving your thoughts and feelings, forming a \ "sweet and soft \" word style represented by \ "Picking Flowers \". Yan Shu, Ouyang Xiu, Liu Yong, Qin Guan, Zhou Bangyan and Li Qingzhao in the Northern Song Dynasty inherited the rest. Although they have developed in content and are more exquisite in brushwork, they all have their own charm and have their own families, but they have not deviated from the gentle track. Therefore, predecessors often used \ "graceful beauty \" (later set Tiaoxi fishing and hiding from Conghua), \ "gentle and charming \" (etymology), \ "save for a rainy day \" (preface to wine) and \ "tortuous euphemism \" (Yuefu Yu). People in the Ming Dynasty used "graceful school" to summarize this style of ci, which should be said to have been brewing for a long time.
Graceful ci school is characterized by its emphasis on children's customs. The structure is profound and meticulous, paying attention to the harmony of melody, the language is round and fresh, and there is a gentle beauty. Narrow content.
For a long time, characters tend to be gentle and graceful, so people have formed the concept that grace is authentic. For example, Li Houzhu, Liu Yong, Zhou Bangyan and other poets are regarded as \ "authentic words \" in Zhoushanren's Ci Review, which represents this view. Graceful and restrained words once dominated the literary world for a long time, until a large number of poets such as Jiang Kui, Wu Wenying and Zhang Yan in the Southern Song Dynasty were influenced by graceful and restrained words in different aspects.
During the reign of Ganjia, Confucianism, Confucian classics and Han Shu studies flourished. The so-called "everyone is good and honest, everyone is a good horse", and Chinese studies are in full swing. In this respect, Fang Bao, Yao Nai, Weng Fanggang and other scholars engaged in prose creation in Tongcheng were the first to maintain Song studies. Liang Qichao thinks that they recited Ceng Gong and Gui Youguang and established the so-called ancient prose, which is called Tongcheng School. It's also well said that Ouyang Xiu's theory of "seeing the Tao through literature" is based on Confucius, Mencius, Han Ou Cheng Zhu, and is not as good as the so-called China scholar at that time. For example, Weng Fanggang believes that sinologists' textual research on Confucian classics should serve justice, and advocates that "textual research must be based on justice" and that Confucian classics should "want to understand justice".
Gong 'an School is a literary school in Ming Dynasty. Representative figures are Yuan Zongdao (1560 ~ 1600), Yuan Hongdao (1568 ~ 16 10) and Yuan Zhongdao (1570 ~10). 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. Since Hongzhi in Ming Dynasty, the literary world has been dominated by the "first seven scholars" headed by Li Mengyang and He Jingming and the "last seven scholars" headed by Wang Shizhen and Li Panlong. Their retro argument that "literature must be in the Qin and Han Dynasties, and poetry must flourish in the Tang Dynasty" and "don't study after the big calendar" has a great influence, so that "the world pushes Li, He, Wang and Li Jue, and all seek their effects" (Biography of Li Mengyang in the Ming Dynasty). In the meantime, Gui Youguang and other "Tang and Song School" writers struggled, but they were not enough to correct their abuses. During the Wanli period, Li Zhi pointed out, "Why did you choose poetry in ancient times?" Why should Wen be in the pre-Qin period? "and" articles are not available, and the times have been talking about it ",which made him, Jiao□, Xu Wei and others actually become the pioneers of the public security school.
The literary thought of the Public Security School originated in Yuan Zongdao, with Yuan Hongdao as the backbone and actual leader, and Yuan Zhongdao further expanded its influence. The literary and artistic thoughts of the public security school mainly include:
(1) against the bandits, advocate change. Everyone in the public security school lashed out at the tendency of the former seven sons to imitate words and eat the ancient. They sharply criticized the phenomenon that "plagiarism is common and all kinds of voices speak loudly" in the literary world. Yuan Zongdao also hit the nail on the head and pointed out that the source of the retro school is "ignorance rather than imitation" (paper). They hold that literature should change with the development of the times. "Generations have ups and downs, but the laws are inconsistent, the poles change, and each is poor and interesting" (Yuan Hongdao's Xiao Xu Shi Xiu), "The world has changed, and literature has also changed; There is no need to copy the ancient times today, but it is also possible "(Yuan Hongdao's" With the River "). Not only the literary content, but also the formal language will change and tend to be popular. This is because "temperament is born, everything spits it, and there must be slang" (Yuan Zhongdao's Preface to Flowers and Snow). So, "why is the ancient high? Why should we be humble today? " They further argued that "all words and expressions are legal" and "the laws of ancient people can be summarized!" (Yuan Hongdao's Preface to the Collection of Xue Taoting) Break through all the barriers that bind creation.
(2) express your spirit, not stick to one pattern. The so-called "soul" is the writer's personality and true feelings, which is close to Li Zhi's "childlike innocence". They think that "what comes from the soul is a true poem", while "it is almost impossible to be safe in nature, and what you do is called a real person" (Yuan Hongdao's Proverbs, Knowing Zhang You), and then emphasize that you won't write unless it comes from your own mind. Therefore, they advocate that "the truth is sincere." If you are not sincere, you can't impress people. You should "say what people say, what people can't say and what people dare not say" (Lei Siwei's Preface to Little Bitang), where bread contains resistance to the gentle and honest poetic tradition of Confucianism. They interpret the creative process as "the spirit is in the heart and stays in the environment."
The environment is moved and the heart can bear it; If the heart wants to vomit, it will be transported by the wrist ",while" if the heart captures the environment and transports the heart by the wrist, the spirit will be complete "(Jiang Yingke, My Life Sequence). As long as "the wise men in the world have boundless bosom, the more they look for it, the different they are, the poor they change it, and then between ink and ink, everyone has his true face" (Yuan Zhongdao's Preface to the Complete Works of Mr. Zhong Lang), the innovation of literature can be realized.
(3) Emphasize folk novels and advocate popular literature. Public security schools attach great importance to drawing nutrition from folk literature. Yuan Hongdao once described folk songs such as "Dried Jujube" as poems, which made him "broad-minded, broad-minded and generous in poetry collection". He believes that the poems such as Broken Jade and Dried Jujube sung by women and children at that time were written by "ignorant real people, so there are many real voices". This is related to their literary development view and innovative theory, which played a certain role in improving the social status of folk literature and popular literature in that period.
The public security school has made great achievements in liberating the style of writing, such as "Sweeping the King" (biography of Yuan Zhonglang, public security county annals), and its travel notes, letters and essays are also very distinctive, or elegant and fresh, or lively and humorous, and they form their own family. However, in real life, they passively avoid the world and describe trivial things or natural scenery around them, lacking profound social content, and their creative themes are getting narrower and narrower. Its imitators "blurt out, no longer follow the rules", "for slang, for delicacies, for recklessness", and even "crazy fans, vulgar behavior" (Biography of Qian Shi Hua). Later generations' evaluation of the literary thought of the Gong 'an School is fair and has theoretical significance beyond its creative practice.
Yuan Qu: The general name of Yuan Zaju and Yuan Sanqu. They were all based on the northern music at that time. Guan Hanqing, Ma Zhiyuan, Zheng Guangzu and Bai Pu are the four masters of Yuan Qu, and they are the representatives of Yuan literature, especially Yuan Zaju.
Yuan Zaju: It is a complete and mature drama form based on Jin Heqiang and combined with various performing arts. It organically combines songs, guest songs, dances and performances, resulting in a literary script with integrated rhythm and complete structure. The main playwrights are Guan Hanqing's Dou Eyuan, Bai Pu's Wu Tongyu, Ma Zhiyuan's Autumn in the Han Palace, Zheng Xianzu's Fu Soul and Wang Shifu's The West Chamber.
In The Scholars, there are four strange people in the market. Shen Qiongzhi, a "strange" woman, was tricked into being a concubine by Song Dynasty, a salt merchant. Unwilling to be "humble and do small things", she fled to Nanjing with the property of the Song family, selling poems and embroidery, supporting her own portal and supporting herself. He refused to accept any ethics, women's discipline, people's siege and official persecution. In the year when she could write, Mrs. Wang, who sold fire paper tubes, opened a teahouse with a wide cover, which the tailor collectively called "the four wonders of the market". Mrs. Wang went to the Go game and was despised and despised by the high officials. He was determined to defeat the powerful "great national player" and shocked senior officials. He thinks this is the greatest "happiness" in the world. In summer, you look down on the rich by being slovenly. When Taigong Shi asked him to write, he turned around and scolded, "Who are you, asking me to write?" ! I am not greedy for your money, your power or your light. How dare you let me write! "Let him write depends on his happiness. If he doesn't want to, ask your princes to give him money, and he won't even look at it. The rebellion of strange people is unacceptable to the world, and there are indeed democratic factors that contradict feudalism in the image of strange people, which is the embodiment of the author's own rebellious spirit and represents his ideological height. However, even strange people can't find social renewal, and the historical future of liberation of Confucian scholars can only run around in the suffocating feudal dark night like celebrities in Wei and Jin Dynasties, with their life attitude of unrestrained ambition and personality of despising the world.
In grasping the history of the Three Kingdoms, the author showed an obvious tendency to support Liu and oppose Cao, focusing on the description of Liu Bei Group, praising the main figures of Liu Bei Group and trying to expose and lash Cao Cao. Today, we should dialectically understand the author's tendency to support Liu and oppose Cao. Respecting Liu and opposing Cao is the main tendency of folklore in Luo Guanzhong era, which implies people's hope for the rejuvenation of the Han nationality.
Liu Yong (about 97 1- 1053), formerly known as Sanbian, was named Jingzhuang, ranking seventh, and was also named Liu Qi, a native of Chong 'an (now Chong 'an County, Fujian Province). A famous poet in the Northern Song Dynasty. Born in a Confucian family, the youngest son of the assistant minister of the Ministry of Industry, a scholar, and the official to the foreign minister of wasteland, it is also known as Liu wasteland. Liu Yong is bohemian and his career is even more bumpy. At that time, people recommended it to Injong, but they had to comment in four words: "Go write lyrics." When his career was boundless, he claimed to be "Liu Sanbian who was ordered to write lyrics", lingering in karaoke bars and dance halls, indulging in sensual songs and lyrics, and was down and out all his life, but was buried by a group of alloys.
Political depression, special experience in life, and his erudition and ingenious understanding of melody make this prodigal son "shallow singing" and "strange and daring madness" become a "talented poet" dedicated to his ci. Because Liu Yong is widely exposed to social life, especially urban life, women and citizens. The prosperity of urban life, women's joys and sorrows, wishes and love between men and women, their own resentment and anguish, feelings of parting and feelings of parting are all important contents of her ci. In addition, there are some works that reflect the miserable life of workers, such as chanting things, chanting history, wandering immortals and so on. Greatly expanded the theme content of the word. Influenced by folk music and folk words, he produced a large number of slow words, which made them mature and kept pace with Xiao Ling. In the expression of words, he is good at sketching; He is good at incisive narration and description; Good at finishing touch, blending scenes, and strong lyrical color; The language is simple and natural, and does not avoid vulgarity, which makes its words unique and widely circulated.
Liu Yong made a new exploration in the content and expression of Ci, which marked a major change in Song Ci and had an important impact on the development of Song Ci. His writing rhythm is harmonious and graceful, simple and light, and he is better at blending scenes. Ye Mengde's "Tale of Summer" said: "Anyone who has a well can sing Liu Ci", which shows its prosperity, while Ji Yun praised in "Summary of Si Ku Quan Shu": "Poetry should learn from Du Fu's poems and Ci should learn from Liu Ci." He is the author of the Collection of Movements, and his famous works include Yulin Ridge, Wu Fengqi, Klang Ganzhou and Wang Haichao. Liu Yong's life can be found in Zhang Zongbian's Chronicle of Linz and Ding Chuanjing's Tales of Song People.
The Scholars, centering on the imperial examination system and fame and fortune, describes the activities of all kinds of intellectuals (intellectuals in feudal society) and related or derived figures such as landlords, gentry, bureaucrats and celebrities, and widely exposes the bleak world and the ugly and dark face of society. The author takes the attitude towards fame and fortune as the standard to evaluate and praise the characters in his works. He satirized and mocked the empty and cowardly souls of feudal scholars who were keen on fame and fortune, mercilessly castigated and criticized the gentry bureaucrats who relied on the imperial examinations for fame and fortune to oppress the people, and enthusiastically praised the noble people who despised fame and fortune. With his cold realistic brushwork, Wu vividly described the decay and decline of the late feudal society, just like dissecting the decayed body of the feudal society with a sharp scalpel.
The Scholars focuses on exposing and criticizing the imperial examination system, focusing on scholars, but not limited to scholars, including bureaucrats, gentry, bullies, businessmen, hooligans, villains, prostitutes, Mr. Feng Shui and other people from all walks of life. It broadly and truly depicts the social world in the late feudal society and exposes the decadent tendency of the whole society. The author tries to change the decadent world style through retro rites and music, and places his ideal on a group of so-called "true Confucianism". This unrealistic fantasy makes the ending of the novel full of a strong tragic atmosphere.
1959, after Comrade Guo Moruo put forward the idea of "vindicating Cao Cao's conviction", the academic circles launched a heated debate on how to evaluate Cao Cao in history and the image of Cao Cao in The Romance of the Three Kingdoms, and the debate on this issue has been constant since then. All parties to the dispute admit that Cao Cao is an outstanding politician, strategist and writer in history and has made certain contributions to the development of our nation. But for the image of Cao Cao in the Romance of the Three Kingdoms, there are two tit-for-tat views:
1. Deny the image of Cao Cao in Romance of the Three Kingdoms. Comrades who hold this view can be divided into two specific opinions.
One view is that the so-called "orthodoxy" concept has been established since the Song Dynasty. Cao Cao, an outstanding historical figure, suffered unfair treatment. "Since the popularity of Romance of the Three Kingdoms, even three-year-old children have regarded Cao Cao as a bad guy and a treacherous court official, which is really a big distortion of history." "The Romance of the Three Kingdoms is a good book, we don't deny it; But we can't deny the feudal consciousness it reflects. Artistic authenticity and historical authenticity cannot be completely separated. The artistic authenticity we demand is developed on the basis of historical authenticity. When Luo Guanzhong wrote Romance of the Three Kingdoms, he evaluated the characters of the Three Kingdoms according to the feudal consciousness. Now he didn't deliberately distort them, but visualized them according to the historical authenticity he saw. But today, our consciousness is different. It's really' bleak autumn wind rises again and changes the world'! There is something wrong with the historical authenticity that Luo Guanzhong saw, so the artistic authenticity of The Romance of Three Kingdoms has lost its foundation and is immeasurable. Although there is still a long time, people will believe in the authenticity of the Romance of the Three Kingdoms, but it will gradually fade away. " "Cao Cao has been a negative teacher for more than a thousand years, and today we will restore his reputation." "But we don't advocate burning the Romance of the Three Kingdoms, stopping the performances of the Three Kingdoms, or modifying them one by one. However, we hope that someone can make a new mold on the basis of looking at historical authenticity from a new angle. The old and the new can coexist and obey the people's choice.
Another view is that "in the process of denying Cao Cao, the author of Romance of the Three Kingdoms can be said to have done his best in literature. The popular romance of the Three Kingdoms is simply a slanderer of Cao Cao. The author of The Romance of The Three Kingdoms has not read the History of the Three Kingdoms by Chen Shou and the Notes on the History of the Three Kingdoms by Pei Songzhi, but he has read it carefully. He knew that Cao Cao was not as bad and stupid as he said, but in order to publicize the feudal orthodox view of history, he distorted history at will and despised Cao Cao. " "The Romance of the Three Kingdoms made the History of the Three Kingdoms a farce, which also made later people regard his farce as history." Therefore, only by overthrowing the Romance of the Three Kingdoms can people understand the traditional concept. Let it out and get to know Cao Cao again as a historical figure.
2. Affirm that Cao Cao in Romance of the Three Kingdoms is a successful artistic image. Comrades who hold this view mainly put forward the following four reasons for disagreeing with the former view:
(1) The image of Cao Cao basically conforms to the historical truth. Cao Cao in history is indeed a very accomplished man. However, after all, he is the representative of the landlord class, and he has such evil virtues as cruelty, cunning and extreme egoism. The Romance of the Three Kingdoms gives Cao Cao a true representation in these two aspects, without simply demonizing him or making him "so stupid and incompetent". On the one hand, Cao Cao's outstanding talent and extraordinary knowledge, his admiration for talents, his foresight, shrewdness, tenacity, indomitable optimism after defeat are outstanding and profound in The Romance of the Three Kingdoms. This is in line with the historical truth. On the other hand, The Romance of the Three Kingdoms also lashed out at Cao Cao's cruelty, cunning, hypocrisy and extreme egoism, which are basically based on historical data and in line with historical truth. Such as "Cheating Stroke" (the first time), "Borrowing the King's Head" (sixteen times) and "Cheating" (thirty times); Killing in a Dream (seventy-two times); When attacking Xuzhou, "Dan ordered the whole city to kill all the people in the city" (ten times). When Yuan Tan surrendered, on the one hand, he asked the sergeant to capture the people who escaped slaves. On the other hand, they told the "first voter" to "hide in the mountains quickly, or I will be captured by my sergeant" (33 times), and after killing Lv Boshe's family, they openly declared that "it is better to teach me to be negative than to teach everyone to be negative" (4 times) and so on. These well-known plots are based on historical records, such as Chen Shou's History of the Three Kingdoms, Pei Songzhi's Notes on the History of the Three Kingdoms and Ye Fan's History of the Later Han Dynasty. During the seven or eight hundred years from Wei Jin to Northern Song Dynasty, many critics of Wei Kou Shu also pointed out these evil virtues of Cao Cao to some extent. For example, on the one hand, Chen Shou praised Cao Cao as "an extraordinary man and an unparalleled outstanding figure" in the history of the Three Kingdoms, on the other hand, he recorded Cao Cao's brutal behavior many times. Lu Ji of the Western Jin Dynasty admired Cao Cao's talent and achievements, but in his "On Death", he also said: "Although Cao Shi helped many summers, he was deeply humiliated! He is angry! " In the Northern Song Dynasty, Sima Guang took Cao Wei as the orthodoxy in Zi Tong Zhi Jian, but also pointed out that Cao Cao was "violent". Therefore, the accusation of "arbitrarily distorting history and denouncing Cao Cao" in The Romance of the Three Kingdoms is untenable.
(2) Cao Cao's villain image is the product of class struggle. Because the history books recorded the personality characteristics of Cao Cao, such as cruelty, cunning, extreme egoism and so on, which represented the feudal ruling class, folk and folk artists seized these characteristics, made up stories and sang, and gradually formed the negative image of Cao Cao. Its purpose is to expose and make people know the ugly faces of feudal rulers who actually live on their heads, and to arouse people to fight against them. At the same time, this image has been enriched and matured in the evolution of the Romance of the Three Kingdoms from the Northern Song Dynasty to the end of Yuan Dynasty and the beginning of Ming Dynasty, and it has also been influenced by the national struggle. At that time, the Han people used to compare the foreign invaders and rulers in the north to Cao Cao. Therefore, the appearance of the negative artistic image of Cao Cao in The Romance of the Three Kingdoms has irrefutable historical rationality.
(3) The image of Cao Cao has reached the consistency of artistic truth and historical truth. Literature is not equal to history, it needs to reproduce real life and real people's lives and allow artistic exaggeration; It can't describe people according to historical facts, as historians require. Moreover, the historical truth in literature and art is not only an individual historical fact, but the essential truth of historical life and historical spirit in a specific historical era; Especially for traditional literary and artistic works, it even contains the historical content of the author's own life era more widely. The image of Cao Cao in Romance of the Three Kingdoms reproduces the complex character of the historical figure Cao Cao in many aspects, including the author's imagination, exaggeration and praise, which can be said to be in line with artistic truth and historical truth. Although some of its contents are different from those of the historical figure Cao Cao, his character is consistent with the qualities of thousands of feudal rulers of the same type, so it has greater historical authenticity. In the history of China literature, it is difficult to find a second negative example as profound, plump and successful as Cao Cao in The Romance of the Three Kingdoms.
(4) As a successful artistic model, the image of Cao Cao in Romance of the Three Kingdoms will not lose its social function and significance, because it does not exist as a vassal of the historical figure Cao Cao. No matter how to "reverse the verdict" for Cao Cao according to historical facts in history, it is impossible to "reverse the verdict" for Cao Cao, an immortal art model created, familiar with and "loved" by people in the Three Kingdoms. On the other hand, simply confusing the character of artistic images in ancient literary works with the historical role of historical figures will lead to a nihilistic attitude towards the heritage of classical literature. Today, we should use the viewpoint of historical materialism to evaluate Cao Cao in history and give him due recognition. At the same time, we should also evaluate the image of Cao Cao in The Romance of Three Kingdoms from the perspective of historical materialism and admit its rationality and typicality.
Song Jiang is the eternal boss of Liangshan. In the original book, when he went to Liangshan, the boss of Liangshan was actually him. Classicism has become a symbolic figure that has been left out in the cold and overhead. Liangshan, led by Song Jiang, went to glory and gathered 108 generals. But it was also Song Jiang's obsession with wooing, which ruined Liangshan's future. It can be said that Song Jiang is both a hero and a sinner.
Among the thieves, Song Jiang who died once is not the original Song Jiang. The original Song Jiang was a master of larded studies and was good at netting brothers, but he was really inadequate in dealing with the imperial court. As soon as Song Jiang appeared in the underworld, he made several moves and successfully escaped from danger, creating a hidden Longshan inheritance. This was when the strategist was away, and he played alone. With these, his military talent has surpassed the original.
As for his previous job, he did better in winning people's hearts than before. For example, when he touted the classical Chinese, he brought in the classical Chinese, which had been watching coldly, which not only showed his concern for the old revolutionary comrades and leaders, but also attracted a group of people with strong professional skills such as Lin Chong to re-enter the mountains.
His other great initiative is to change the original establishment of Liangshan team and break the shackles of the past system. 108 after the original reunion, Liangshan did not recruit new people, and the seats were fixed. Everyone took up the iron rice bowl. But in the water margin of thieves, after a life-and-death struggle, Song Jiang also understood the importance of talents and no longer cared about the limit of the number of people. Seeing that he was attracted to the mountain, in addition to his old brother, there were loyalist generals as before, folk strongmen, their former enemies, and opponents in their previous lives ... The sources of generals were much more than before, which is why they are stronger than Liangshan. What is more commendable is that he has begun to break away from the fixed seating arrangement. For example, when he made great contributions, he was promoted several times, which is almost impossible under the fixed mode of the original work.
But Song Jiang is Song Jiang because he can't lack his insidious and cunning nature. For classicism, he keeps saying that he puts classicism in the first place, but he always thinks about calculating him in his heart. Even when his horse was injured in the battle, he regretted giving his BMW to Classical. This is very important, because Song Jiang has always been a generous man, loyal to his friends, and loyal to his friends, but why is he so upset with that horse? This is because classical music is different to others. Others, other brothers, are the objects of Sung River's wooing. It is worthwhile for the horse to give another person loyalty to you, but it will make him feel distressed to give it to the boss, even if it is a nominal boss, because Classical can't be his hand and work hard for him, and the return on such investment is too small. Similarly, he did the same to Wei Chi and Wu Shuang. If you can't win her over, you can kill her when you don't need her. Anyway, she's not a Liangshan brother, so don't care about face.
He made full use of his best friends, Song Jiang's best friends, Kong Jia brothers and Li Kui jy. On the surface, they always get into trouble for Song Jiang, and Song Jiang has to put out the fire for them one by one, even saving Li Kui jy has become the first long-term book. But why did the Kong brothers stay with them after making so many mistakes and not even change their temper? In fact, Confucius brothers are very clever. They are not only hiding, but also discovering their role in Song Jiang. Every time Song Jiang deals with them, it will bring the leaders closer to Song Jiang. It was their disturbance that led to Song Jiang's fair execution, although it was only formal justice.
The basic content of Yuan Zaju "Water Margin" is that good citizens are bullied and persecuted by powerful people and bullies, and Liangshan heroes help the weak and restrain the strong, punish evil and eliminate rape. Li Kui jy's play is also the story of the black whirlwind Li Kui jy, who saved people's lives for heaven. The basic plot of Li Kui jy is basically the same as the seventy-third chapter of Water Margin, which leads to dramatic conflicts through misunderstanding and promotes the development of the whole plot. When Li Kui jy misunderstood Song Jiang, convinced that Song Jiang grabbed a full house, he "couldn't help but be reckless and furious", "played the black gas and pierced the yellow moustache", and returned to the mountain to question Song Jiang in a rage, which triggered dramatic conflicts with comedy characteristics such as mountain building, confrontation and loss of prestige. It is also in the contradiction that Li Kui jy's reckless, bold and rough character is shaped. Gao Wenxiu's double contribution of black whirlwind, as the only one of his many jy plays, vividly and interestingly interprets the story of jy's great wisdom and salvation, and strives to shape jy's heroic image of being fearless of violence, brave and prudent, which is similar to Kang's jy.
Top ten mediocre talents in Liangshan
Liangshan heroes are not all heroes SHEN WOO, but there are also a number of pustules, and look at the top ten mediocre people in Liangshan that I picked out as follows:
First, the iron fan Song Qing:
In the book, I have never seen Song Qingyou fight. He is only responsible for arranging banquets all day. The title of company quartermaster can be described as gluttony, and it can only rely on the relationship of Song Jiang. This fellow has to be taken care of by Sung River, and he never goes into battle to kill the enemy. When Fang La was recruited 108, more than half of the casualties would be caused, but he could come back intact.
Second, Jin Yanbiao cover:
I think this kind man is a rich boy, and his father is an old camp manager. He has been used to eating, drinking and having fun since he was a child, so he has no real skills. Let Jiang Menshen punch him, hit him on the head and hang his arm, and he can't get up for two months. Needless to say, my humble ability. When Fang La recruited soldiers, just before the fierce fighting between the two armies, Kindness was the first to die. People say that "the wind knows the grass is strong, and the fire sees the real gold." In the two armies, the level of skills is naturally reflected.
Three, four, Mars Kong Liang, wool star Kong Ming:
The two brothers skill is very low, Kong Liang and Song Wu fight, the book wrote:
"Wu Yan grabbed it and grabbed Korea's hand. Han was forced to land in Song Wu, but how could he be forbidden to possess thousands of pounds of divine power? He pulled his hand and pulled it into Huailai, only one wave, just like turning over a child's hands and feet. When the three or four villagers saw it, their hands were shaking and their feet were numb. How dare they come forward? Martial Walker stepped on the big fellow, raised his fist and only hit the ground ... "
This sentence "like turning over a child" is not as miserable as described by Ximen Qing and others. Look at the master that the brothers worshipped, but it was Song Jiang. Song Jiang also pulled out his two gun sticks, and the level of the two people can be imagined. No wonder Kong Liang died mercifully when he hit Fang La.
Five, Bai Sheng vole:
Bai Sheng, the day mouse, is an idle person in the village. He's just a punk at best. There is no mention of his martial arts in the book, but friendship is a good play on Huangnigang. Although it is successful, I think he is such an idle person, and the person who plays this wine seller can be said to be a real actor. But there will be no performance in the future. Later, I ate it and took it to Jeju prison. I can't stand the torture, and I gave up the classical people. According to the standards of our party, this is an out-and-out traitor. But Liangshan hero didn't do that and saved him from going up the mountain. Among the Liangshan heroes, he is also a man who has "not many, not many".
Six, bullying Zhou Tong:
Zhou Tong, the bully, was not only mean, but also stole his daughter. Martial arts is also very poor, by an old boxer, Lu played crying, the book wrote:
"Ou Peng, Deng Fei, Jong Li and Zhou Tong, four mountain scouts, did not watch out for Li Tianrun (Fang La's generals) to avenge his brother, and led the thief soldiers to Shimonoseki, first slashing Zhou Tong. Jong Li left with an injury. "
Zhou Tong's fighting skill was so poor that he was killed by Li Tianrun. And somebody else Lu Junyi killed Li Tianrun at the age of thirty. If people like Zhou Tong and Lu Junyi really play, I'm afraid it won't be ten times.
Seven, live Sheva Wang Liuding:
Wang introduced himself in the book:
"Little people surnamed Wang, ranking sixth; Because they walk fast and jump fast, everyone is called the villain Wang, a flash. I have to go to the water to play sticks all my life. I have been a teacher many times, but I can't pass it on. I have the right to sell wine by the river. "
Although this man walks fast and jumps fast, he walks faster than Dai Zhong, a dangerous man, and jumps faster than a flea. It is also "no good" to hit a stick in the water, and it seems that there is no skill.
Eight, nine, King Kong Song Wan is in the clouds, reach for the sky, Du Qian:
Although these two men are elders in Liangshan, they know from Wang Lun that their martial arts are just average. These two people have gorgeous names. Words like King Kong and Heaven are actually like mud tires in a temple, which are dedicated to bluffing and have no real skills. The first time I hit Fang La, I broke Song Wan, but I was killed by the army. This shows Song Wan's ability. Du Qian later died in the battle against Qingxi County, which can be said to be the last battle. He died like Song Wan, and was also killed by Ma Jun, which shows that Du Qian and Song Wan have the same skill. Why didn't Ma Jun kill jy and Lu? Or is it because of poor technology? As we all know, whenever an accident causes death in a crowded place, most of the casualties are old, weak, women and children. That's the reason.
X. Yubao Temple, a dangerous Taoist god:
Yu Baosi, a dangerous Taoist god, only mentioned in the book that he was a horse robber. Apart from being tall (there was no basketball to play), he had never seen any martial arts. The only thing made behind Shangliang Mountain.