Feng Weimin is another important Northern dramatist besides Kang Hai and Wang Jiusi. The word Ruxing, the number of the sea floating mountain people. Shandong Linqu people. The young boy traveled with his father's eunuchs and read the "History of the Six Classics of the Sons, including Yinghua, for Wen Hong, ten thousand words can be immediately established."
In the sixteenth year of Jiajing (1537), he was raised in the township, and next year he went to Beijing with his second brother Wei Zhong and brother Wei Ne to participate in the examination, and as a result, his brother and brother were both zhongjinshi, but Wei Min was named Sun Shan. Since then, he has tried several times, but without success. The defeat of the imperial examination was naturally a blow to Feng Weimin. In the poem "Shangwei Rizuo, ShiLuo Di Ke Jingshi", Feng Weimin writes that the wind and sand of the capital shake off the peach and plum, and the mood of keju's frustration is revealed in the chant. In his prose songs, we also read his sighs of failure, in which the more painful ones are about "Northern Shuang tone folding Gui Ling" "Reading newspaper removal", "Northern Double Tone Xian Gui Yin" "Si Gui" and "Bei Shuang Tone Hexi Six Niangzi" "Zhi Zhi", which seem to be more emotional than indignant.
Feng Weimin did not show great grievances about the fall of Keju, and from the analysis of his existing works, there are about two reasons: one is that Feng Weimin is full of longing for a leisurely life; the other is that his father's experience makes him have a doubt about his career. His father's experience and personal yearning made Feng Weimin repeatedly fall behind and have a frustrated side in his heart, but he did not have a very strong dissatisfaction due to the examination. At the same time, he still has a little trust in the imperial examination, so in his works, we read from time to time that he congratulates others on winning the first, and is full of expectations for the examination of his nephews. Frustration, trust, hesitation, these complex emotions are reflected in his script.
Feng Weimin is the author of two kinds of miscellaneous dramas: "No Fu Lao" and "Monk and Nun Accomplice". Among them, "No Fu Lao" is based on the theme of the imperial examination, writing the story of Song Lianghao's eighty-two-year-old Zhongzhuangyuan, which is the first work in the history of opera to take the imperial examination as the object of expression. The whole play is 50% off, three times to write to the exam, twice to write to the first place. In the play, Liang Hao's efforts reflect Feng Weimin's still existing trust in the imperial examination; Liang Hao's scientific field life reflects Feng Weimin's scientific expedition experience and experience.
After Feng Weimin, the plays that wrote the imperial examination were Wang Heng's "Yu LunShi" Shen Zizheng's "Ba Ting Qiu", Ji Yongren's "Du Xiucai Weeping Mud Temple", Zhang Tao's "Ba Ting Temple", Huang Zhouxing's "Examination Official Shu Huai", Pu Songling's "Embarrassment", Yang Chaoguan's "Kaijin Bang Zhu Yi Nodding", Yang Enshou's "Coming Again", and so on. In general, dissatisfaction, critical attitudes have become representative tendencies, and there are more angles to the performance of the imperial examinations, the feelings of falling behind, the criticism of the examiners, and the thinking about the fate of the literati, etc., all of which have become important contents.
From Feng Weimin to Yang Enshou, from Feng Weimin's frustration, yearning and hesitation to Yang Enshou's helplessness and indifference, the changes in the middle have the author's personal factors, and also reflect the life course of the imperial examination system itself. When the imperial examination became an important part of the life of the literati, the imperial examination was repeatedly discussed in the scripts of the literati and became an important theme in the creation of opera.
Feng Weimin's "Monk and Nun Accomplice" writes that the monk Ming Jin and the nun Huilang secretly had an affair, were broken by the neighbors, and sued to the government. Inspector Wu Shouchang sentenced him to marriage. This script actually reflects the Confucian side of Feng Weimin's thought. Analyzing Feng Weimin's thought, it can be said that he has accepted more of the influence of Confucianism, such as caring for people's livelihood and attaching importance to tianlun and so on. Taoism is not rejected, but Buddhism is both affirmative and reserved.
In "The Accomplices of Monks and Nuns", Feng Weimin also proceeded from Confucianism and criticized Buddhism: "It is difficult for young people to abstain from sex, and gentlemen do not leave home." The saints have ethics, and the Buddhas behave poorly." Proceeding from the viewpoint of the ancient sages and sages that "men and women live in the room, and the great lun of man", he borrowed the monk's mouth to express his dissatisfaction with the Dharma's decision to "get ignorant sentient beings out of their homes, cut their hair into monks, never marry and never marry, and never have their heirs."
Feng Weimin's script, "No Fu Lao" is a five-fold full play, sung by the end of the solo, quite in line with the yuan opera style. Although "Monk and Nun Accomplice" adheres to the four-fold and four-fold set of songs in length, it greatly breaks through the style of meta-miscellaneous drama in terms of singing: the first fold is pure singing, the second fold is sung at the end, the third fold is sung at the end, the net singing, the Dan singing, the fourth fold is pure singing, and the jingdan chorus is already quite free in singing.