Section 1: Bullet words and drum words
Playing and drumming are forms of rap that are popular in different regions. The former is popular in the south, accompanied by three strings and pipa, and mainly raps the love story of talented women. The latter was mainly popular in the north, accompanied by instruments such as drums and three strings, and mainly raped the war stories of iron horse jingo.
Rap literature has a long history in China, tang dynasty variations, Song Dynasty Tao Zhen, Ya ci, drum words, zhugong harmony words and Yuan Dynasty words, are different names of rap literature in various eras. They have enriched the ideological content and artistic skills of China's rap literature in their own historical development. Inheriting the artistic tradition of the previous generation, the rap literature of the Ming and Qing dynasties has been further developed, various rap arts based on bullet words and drum words have emerged, different genres of the same rap art have emerged, they are performed simultaneously in the same city, artists compete with each other, speculate with each other, in order to overwhelm others, not only in the singing text There are many valuable creations, but also in the content of the work has also been processed and polished, making it more rich and vivid, reaching a high artistic achievement.
Bullet words were developed from tao zhen in the Song Dynasty and words in the Yuan Dynasty. The name of the bullet word was first seen in Tian Rucheng's "West Lake Tour Zhiyu" written by Tian Rucheng around the twenty-sixth year of Jiajing (1547), and the original book volume 20 Records hangzhou August Guanchao said: "At that time, there were hundreds of plays: hitting the ball, guanpu, fish drums, and playing words, and the sound was boiling. There are two works that are indeed credible in the Ming Dynasty bullet words in the bibliography: Jiajingjian Liang Chenyu's "Jiangdong Twenty-one History Bullet Words" and Chen Chen's "Continuation of the Twenty-one History Bullet Words" of the late Ming and early Qing dynasties, both of which have now been dispersed. Ling Chuan Yang Shen's "Twenty-one History Bullet Words" is earlier than Liang's writings, so Liang wrote the word "Jiangdong" to show the difference. However, Yang's cross sentence is different from the cross sentence with a liner in the later bullet word, it is not a bullet word, but a continuation of the Yuan dynasty, the original name is "Ten Paragraphs of Jinzi Words in the History of the Past Dynasties", and its book was transmitted to Jiangnan before it was changed to the current name. The literati's proposed works were all after a kind of literary popular folk, from which it can be inferred that the popularity of bullet words was at least during the Ming Jiajing period. The lyrics are composed of saying "Speaking White", "Interspersing", playing "Accompaniment", and singing "Lyrics". The white part is prose, and the lyrics part is basically seven-word rhyme, sometimes slightly changed, plus the three-word lining, becoming a three-, three-, seven, or three, three, four sentence form. Most of the works are long, and a work often has to be said for several months, such as "An Bangzhi", "DingguoZhi", and "Phoenix Mountain" are three consecutive works with a total of 674 times and more than 70 volumes; generally more than 10 volumes. The opening of the bullet is not white, the short one is only two rhymes and four sentences, and the long one is only a dozen rhymes. It is mainly to play a role in setting the scene and directing the audience's interest to the main book, just like the words in the Song people's speech. Later, it gradually developed into an independent art form, during the Jiaqing and Daoguang periods, there were horses such as flying people who wrote good works, and there are more than fifty chapters in this legend, and their singing voice is called horse tune, which has a great influence. The opening of the bullet is still one of the most popular forms of music and art among the masses to this day. In terms of language, the bullet words are divided into "national tone" and "earth tone". The Chinese pronunciation is written in Mandarin, such as "An Bang Zhi", "Tianyu Flower", "Regeneration Edge" and so on. The shangyin bullet words are written in dialects, or mixed with dialects, and it has the most Wuyin bullet words, such as "Pearl Tower", "Jade Qingfly", "Legend of the Righteous Demon" and so on. The "Nanci Temple" in Zhejiang, the "Commentary" in Fujian, and the "Wooden Fish Book" in Guangdong are all different names for the native sounds that are popular in different regions written in their respective dialects. According to Hu Shiying's "Bibliography of Bullet Words Treasure Scrolls", there are more than 270 kinds of works, of which only a few were created after the Opium War, and most of them were handed down before the middle of the Qing Dynasty. Although the number of extant bullet works is quite large, the content of social life they reflect is extremely narrow, most of them are written about the love stories of talented women, and only a small number of works have a more real historical background, reflecting a certain social reality. The lyrics are mostly sung in the cities, which is more popular with women, so their desire to break through the feudal shackles and change their long-term oppressed status is also reflected in the works. Many works have come from the hands of women writers, such as "Heavenly Rain Flower" (Tao Zhenhuaizuo), "Regeneration Edge" (Chen Duansheng's first seventeen volumes, the last three volumes continued by Liang Desheng), "Pen Shenghua" (Qiu Xinruzuo) and so on.
"Tianyuhua" was written earlier, and according to its self-prologue, its book was written eight years before Shunzhi. The author writes about the chaos of the late Ming Dynasty and the power of the castration party. The protagonist Zuo Weiming's struggle against Zheng Guotai and Wei Zhongxian, and the condemnation of the eunuch party's massacre of the Donglin party, all show the author's criticism of the reality of the late Ming Dynasty. However, the author is also a defender of the stale feudal order and feudal morality, and she praises the feudal concept of hierarchy, the concept of loyalty and filial piety, and the concept of women's chastity, and sometimes through the mouth of the protagonist of the work, she carries out feudal preaching one after another, and she holds an extremely hostile attitude towards the leaders of peasant uprisings and uprisings. The author is also a clumsy naturalist, and she writes that Zuo Weiming's struggle with Zheng Wei and others is pale and weak, often a slight contact, that is, a hasty end, and cannot be fully carried out. However, he tirelessly relished the various life conditions of Zuo Weiming's family, drowning the serious political themes in the trivial descriptions of daily life, weakening the distinctiveness of the themes and the combat significance of the image.
"The Edge of Regeneration" was written during the Qianlong period. It is written that the Yuan Dynasty woman Meng Lijun and Emperor Fu Shaohua were engaged by the parents of both sides, and then destroyed by the adulterers, after several twists and turns, and finally reunited. The work is more successful in shaping the image of Meng Lijun, a woman who overwhelms the eyebrows. In the feudal society that favored sons over daughters, she actually ranked in the third stage, went in and out of the imperial court like a man, discussed the right and wrong of the government, handled major state affairs, and used her talents to eliminate the traitorous party that betrayed the country and collaborated with the enemy, and restored the reputation of loyalty, all of which prominently reflected the author's intention to breathe for women, and is also the moving place of this book. Artistically, the plot of "Regeneration Edge" is more bizarre and tortuous, and the author has launched a series of contradictory struggles around the main line of the marriage between Meng Lijun and Huangfu Shaohua, and the writing is undulating and fascinating. However, due to the fact that the author's ideological and artistic attainments are not high, the achievement of the work is limited. Most of the positive characters in the works are the embodiment of feudal ethical concepts and lack the brilliance of ideals. Although Meng Lijun has superhuman wisdom and talent, her highest ideal is still to return to the family to be a good wife. The feudal system of marriage of polygamy was also widely promoted, thus greatly damaging the perfection of this image.
"Pearl Tower" is the most familiar one among the most familiar to the vast number of people in Jiangnan in the bullet words with the theme of talented and beautiful people. In the book, it is narrated that Fang Qing, a scholar, asked for help from his aunt because of his family's poverty, and was humiliated by his rich aunt, and his cousin Chen Cui'e sympathized with him and privately gave him a pearl tower. In the end, Fang Qing won the title, he pretended to be a beggar, went to the Chen family to sing The Sentiments, and satirized his aunt. This bullet has a certain progressive significance in exposing the worldly conditions of feudal society. Due to the continuous processing of rap artists in the deep outing, it is known for its meticulous description and fluent and vivid language in art, and many pieces are still alive on the stage today and are deeply loved by the masses.
There is also a category of bullet words that are compiled according to folklore stories, and the rap of the love story of white snake and Xu Xian is one of the more excellent works in this category. The storyline of "Legend of the Righteous Demon" is basically the same as that of "Legend of Leifeng Pagoda", and "Righteous Demon" refers to Bai Suzhen, who is transformed by the white snake. In order to defend her love and happiness with Xu Xian, she launched a struggle from birth to death with the Fahai monk who represented the feudal forces, reflecting the strong desire of the people of our country, especially the majority of women, to break free from feudal oppression. Other characters such as Fahai's hypocrisy and cruelty, Xu Xian's honesty and cowardice, and Xiao Qing's enthusiasm and cheerfulness are also well described.
Although the above four works are relatively good bullet works, due to the use of the ruling class, the infiltration of the consciousness of small citizens, especially the limitations of the author's own thoughts and art, there are a large number of feudal ethical preaching and obscene descriptions to varying degrees. In the storyline, it is often Chen Chen Xiangyin, always unable to get rid of the cliché of talented people who fell in love at first sight, privately booked for life, and reunited after twists and turns.
Drum words are mainly popular in the north, and it is also developed from Tao Zhen and words, and the relationship with words and words is more direct. The earliest drum lyrics in this legend are the "Words and Sayings of the King of Qin of the Tang Dynasty" (a "Yanyi of the King of Qin"), which is published tomorrow, and the story of Tang Taizong Li Shimin's conquest of the masses to unify China. The rhyme is a cross sentence, the same as the drum word, but the name of the drum word is not used at this time. The official use of the name drum word is Jia Kaixi in the late Ming and early Qing dynasties, and his "Wooden Bark Scattered Drum Words" is not a story, but borrows this form to express his inner injustice, but it is this fact that shows that by the end of the Ming dynasty and the beginning of the Qing Dynasty, drum words had become popular and had already influenced the creation of the literati.
Drum lyrics are also rhymed and prose. The lyrics are seven or ten words, and the sentence form seems to be more flexible than the bullet words. There are actually two kinds of drum lyrics: one is a cost book that is said and sung, and the other is a small section that is only sung and not sung. Customarily, the former is called a drum word and the latter is called a big drum. The big drum appeared later, and it came from the drum word "excerpt". The so-called "excerpt singing" is to take a wonderful passage from the drum lyrics to sing. In the middle of the Qing Dynasty, it gradually flourished and there were works created specifically for this purpose; so it was officially separated from the drum lyrics and became another form of music art.
Most of the drum lyrics are written about the southern conquest of the northern war by the former loyal general Liang, although there are some historical influences, most of them are fictional, and there are also many depictions of immortality. The works are mainly about the struggle of loyalty and adultery in the imperial court and the war against foreign invasions, although most of them are the activities of emperors and generals, but I rarely reflect the love, hatred and desire of the people. More representative ones such as "Hu Jia Jiang" (a "Meat Mound Tomb") and so on. There are also love stories written in the drum lyrics, which are generally much shorter and have different styles than similar works of bullet words. However, it is still not free from the clichés of the son's suffering, the lady suffering, and finally reuniting, among which the better and more influential is the "Butterfly Cup", especially the description of "You Guishan", which reflects the oppression suffered by the working people and their rebellious emotions, which has a certain significance.
There are also some drum lyrics adapted from literary masterpieces, according to the novels "Romance of the Three Kingdoms", "Water Margin", "Liaozhai Zhiyi", etc., according to the miscellaneous drama legends are "Dou E'er", "West Chamber", "White Rabbit" and so on. These drum lyrics generally do not have much input from the original, and have a great effect on the popularization of these literary masterpieces.
The Book of Disciples is a tributary of drum words, which was founded around the time of qianlong. Zhen Jun said in "Heavenly Occasional News": "In the old days, there were so-called disciples of drum words, which were founded by the eight flags of disciples. Its words are elegant and tame, and its voice is gentle, and it is divided into east city tone and west city tone. "This shows its origin and musical characteristics.
In addition to some of the themes of the children's books directly absorbed from social life, most of them are also adapted from popular novels and operas in the Ming and Qing dynasties. The former, such as "Sigh of Marriage Flowers", "Sigh of the Cook", "Visiting the Huguo Temple", etc., can be used to understand some social life and certain living conditions of the lower classes at that time; the latter played a certain role in disseminating literary masterpieces. The author of the Book of Sons also made some creative expositions and plays to the images and ideological tendencies of certain characters in the original work, which is conducive to the reader's understanding of the original work, such as the representative writer Luo Songxiao of the Book of Sons, Han Xiaoxiao's "Queqiao Secret Oath", "Daiyu Sorrowful Autumn" adapted from literary masterpieces, and the anon.'s "Grass Bridge Frightening Dream" and "Noisy Jiangzhou", which have such characteristics.
The music of the Children's Book has been lost today, but many of the works that have survived to this day are still sung in various forms of music and art, which are welcomed by the masses.
Section 2 Folk Songs
The literati of the Qing Dynasty continued the legacy of the literati of the Ming Dynasty, and the collection of folk popular songs was more popular, and more works were preserved than those of the Ming Dynasty. Liu Fu and Li Jiarui edited the "General Catalogue of Chinese Folk Songs", which received a total of 6,044 kinds of single-issue pamphlets of folk songs, and Zheng Zhenduo said in the "History of Chinese Folk Literature" that he "collected nearly 12,000 kinds of single-issue songs from various places", which shows the prosperity of folk songs in the Qing Dynasty.
The mood of the Qing Dynasty folk song collection is basically the same as that of the Ming Dynasty, most of which are works of male and female lovesickness, and there are also many pornographic works, most of which are sung in urban restaurants, tea houses, and brothels, such as "Neon Dress Continued Song", "White Snow Remains" and other periodicals and "Shixing Ya Ya You" and other banknotes. But there are also some works with healthier minds and fresh lyrics:
[Parasitic grass] When the rain is dotted, the lover is not at home; if he is at home, how old the world is. Persuade God, stay in the rain and teach him to come back. Wet clothes are small, and frostbite is big. As the saying goes: gold is priceless.
[Parasitic grass] The lover gives the slave a fan, with water on one side and mountains on the other. The mountains of the painting, the layers are really beautiful. Painting the water, twisting and turning continuously. Mountains rely on water to rely on water, and mountains (if) must be parted unless the landslides and waters are broken! (Heavy) - The Continuation of the Neon Dress, Vol. IV
Qing Dynasty folk songs also come from more remote areas, such as Li Tiaoyuan's "Cantonese Wind" (Note: Li Tiaoyuan's "Cantonese Wind" is based on the "Yue Feng Continuation Nine" compiled by Wu Qi in the early Qing Dynasty. Wu Shu is probably gone. Books such as Wang Shizhen's "Chibei Occasional Talk" and Lu Ciyun's "Zhizhi Yu of Zhixi" contain many Guangxi folk songs he has compiled. and the anonymous "Sichuan Mountain Song", their tune is relatively simple, but the feelings are really simple and simple, which is the true color of folk songs:
Sister acacia, sister has a true brother also knows. Spider webs three rivers estuary, water push constantly is silk. --Cantonese Wind, Vol. 1
A locust tree on a high mountain, climbing the locust branch with his hand, hoped that Lang would come; the mother asked her daughter, "What do you want?" I looked at when the cotton would bloom. --"Sichuan Mountain Song"
There is no flowery rhetoric here, but it reflects the fresh and healthy style of folk songs.
The feudal rituals' bondage and persecution of young men and women are also reflected more specifically and profoundly in the folk songs of the Qing Dynasty than in previous generations, some condemning men's negative hearts, some resenting the ruthlessness of their parents, and their feelings are very strong. Others specifically describe the suffering inflicted on women by an irrational institution of marriage. For example:
Eighteen daughters, nine years old, hold Lang on the gum bed at night, not in-laws and mothers-in-law, you do come to me to be a mother! --"Sichuan Mountain Song"
It's a pungent ridicule, but also a serious protest. But in that society, I don't know how many women's beautiful youth has been buried. In the "Time Tune Small Tune Clump Money", "Weeping Lover" and "Yu Lin Lang Tune" "Farewell Brother" are written about the woman's own choice of spouse, but her parents have married someone else's painful feelings, especially the previous one, which not only writes her painful parting from her lover, but also writes her deep remembrance of her lover's martyrdom and death. The fate of the two pairs of young people in the work is the inevitable tragedy of that era. But young people are tenacious, and they inherit the spirit of "separating unless heaven and earth" in the folk songs of the previous generation, and show a stronger spirit of rebellion:
Thinking of Cai Lang, annoyed with Daddy. Feet on the flowerpot, hands on the wall; tears in both eyes. Because Cai Lang was beaten once, the slave who beat him was covered with eggplant. Boom! I can give up this skin and flesh without giving up my relatives. --"Boom Ya Ya Ya"
It is difficult for the wrongdoer to stay, and he pours a cup of tea. This cup of tea leaves the wrongdoers to say a word: if you want to go, you should leave a confidant; secretly concealment is not a common law. It is better to hide from your parents and run away! Hide from your parents and run away! --"Kyoto Kokuji Banknote"
No persecution will bring young people to their knees, no flesh will destroy them, nor can they extinguish the flame of freedom in their hearts, "They can give up this skin and flesh and not give up their relatives", this is their answer, "Hide from their father and mother, just run away", this is their action.
In the Qing Dynasty, there were also special collections of ethnic minority folk songs and children's songs. The former is like the "Yao Song", "Miao Song" and "Servant Song" in the last three volumes of the "Cantonese Wind". Most of the works are love songs, but also reflect some of their customs. However, because it is phonetically using Chinese characters, although it has been annotated, there are still many difficult points to understand. Later, such as Zheng Xudan's "Tianlai Collection" and Wu Yisheng's "Guangtianlai Collection" and other children's song collections, they are adults to teach children knowledge, training children's language, general sentences are shorter, language is simple and fluent, suitable for children to chant. But there are also a few that reflect some aspects of social life.
