Interpretation of Chinese Cultural Symbols - Yuanqu: The Unity of the World Vibrates hongsheng

"The three lights and five peaks are divided, and the big tone is not finished, so it will be mixed and then vibrated."

This literary history thesis of the Tang Dynasty poet Liu Yuxi means that the literary movement is related to the fortune of the world, and the unification of the world can make literature flourish. The literati of the Yuan Dynasty especially agreed with this theory, and many of them quoted and elaborated. For example, Chen Lu once quoted this saying and played it: "Beautiful and beautiful! ...... There are six in the mainland family, which has been called a mixed one since ancient times, and it has not been omnipotent today. Then the prosperity of heaven and earth's qi and luck is not as great as it is today. Since the founding of the People's Republic of China, the saints have succeeded in their work, nurturing all things with loyalty and thickness. Hongsheng is old, out of the meantime, as an article, Wei Wei guangzhuang. The ugly wind of the past life, so it has changed completely. What is the rise of Sven, is there no such thing as the state of heaven and earth? ”

The Yuan Dynasty achieved unprecedented unification, and literature should also transcend the past and greatly vibrate its voice. At that time, poets, essayists, and composers all agreed with this big judgment and tried to confirm it through creation, and jointly create the literary glory of an era.

Composers of all nationalities have created a brilliant generation

Yuanqu has become a generational flourish, which is jointly created by scholars and composers of all nationalities. As Dai Liang's "Collected Poems of Ding Henian" at the end of the Yuan Dynasty said:

I was ordained, and I was also inspired by the northwest. ...... Often the first to submit to the subordinates, to the title of the domain, its bath rest, dipped in favor,...... The accumulation is long, the literary track is the same day, and the children and grandchildren are like grandchildren, so they all give up their bows and horses and write poems. ...... And its poetry is the legacy of ancient Chinese authors, and it is enough to see the great trend of our dynasty's kingization, the change of folklore, although it has become the prosperity of the Zhou Dynasty, it is beyond reach.

Poetry is like this, and music is even more so. On the occasion of the Yuan and Ming Dynasties, Ye Ziqi's "Grass and Muzi" records the scattered songs of zuo Cheng Xiang Boyan and the Han general Zhang Hongfan of the Yuan Dynasty:

Bo Yan Cheng xiang and Zhang Jiu marshal, each made a [Xi Chun Lai] word on the table, Bo Yan Yun: "Goldfish jade with luo buckle, soap cover Zhu Banner column five marquises, mountains and rivers judged at the tip of the pen." Proud of autumn, break the emperor's worries. Zhang Jiuzi: "The golden sword hides the dragon's mouth, the jade belt red velvet hangs on the tiger's head, and the green poplar shadow suddenly moves." Dezhiqiu, famous phoenix building. "Handsome and talented, each with his own ambitions."

From another point of view, this is a singing harmony between composers of different nationalities. The "[Xi Chun Lai] word" here refers to the song.

The ranks of Yuan Dynasty composers were composed of many ethnic groups. At the end of the last century, the Yuan Dynasty section of the eighth volume of the General History of China, edited by Mr. Bai Shouyi, said: "The talents of ethnic minority composers in the Yuan Dynasty were abundant, and they were seen in the records of the Wu'er people Guan Yunshi and Quan Ziren, the Hui Hui people Ma Jiugao (Ma Angfu, Xue Angfu), Sadula, Ding Yefu, Lan Chufang, Sai Jingchu, Mu Zhongyi, Hu Bogong, Wang Yuanding, Ali Xiying, Ali Yaoqing, DaShi Weiyin, etc., the Kangli people Bu Shu mu, Jin Element, Jin Yunshi, etc., the Jurchens Otun Zhouqing, Wang Jingyu, Li Zhifu, etc., the Mongolian Aruwei, Yang Ne, and so on. Among them, Zhu Quan rated it as 'idle clouds out of the clouds'; Ma Jiugao's words such as 'Songyin Minghe'. And Guanyun stone is especially famous for its scattered music... Zhu Quan commented on his words such as 'Tianma deinhibited', and Yao Tongshou called him "the music house he made is scattered, and Junyi is the crown of the line, that is, the song is highly quoted, and the cloud han can be penetrated'. ”

In terms of scattered songs alone, there were 212 writers with names to examine in the Yuan Dynasty, of which more than 30 were ethnic minorities, and the more accomplished ones were Guan Yunshi and Xue Angfu. It can be said that the Yuanqu is a strange plant of Wenyuan, which is grown by composers of all nationalities who have worked hard to cultivate it. Taking the Central Plains culture as the main body, she has successively integrated the musical and linguistic elements of khitans, Jurchens, Mongolians and other ethnic groups, and has been influenced by the multi-ethnic cultural style and fashion, and finally formed a unique style.

Meta-songs are composed of two elements: music and language. The Song Dynasty's "Solo Awakening Magazine" records that in the last years of the Northern Song Dynasty, Khitan music was popular in Beijing: the streets and alleys were contemptible, and the songs were sung, known as "Six Kingdoms Dynasty", "LuanPai Sequence", "Pengpeng Flower", etc., and their words were very slang, and the scholars and doctors of the time also sang. Since then, Jurchen music has also become popular in the Central Plains. Zhou Deqing's "Zhongyuan Yin Rhyme" of the Yuan Dynasty records: "The movements such as the Jurchen "Wind Fluid" are sung in jurchen voices. Although the words are false, they do not hurt the rhythm, and they do not harm them. Wang Guowei's "History of Song and Yuan Opera" further states: "The "Wind Fluid" in the double tone of the Northern Qu, etc., the real female true song also. In addition, such as the Northern Qu Huang Zhonggong's "Zhi Lagu", the double-tone "Ana ku", "Gu Du Bai", "Tang Wu Gang", "A Ku Ling", the Yue tune of "Humble Lu Su", the Shang tune of "Lang Lai Li", are not the language of the Central Plains, and should also be the Jurchen or Mongolian song. ”

Qu, which was born and brilliant in the Yuan Dynasty, under such a multicultural background, is the crystallization of cultural exchanges and blending of various ethnic groups, and it is also the fruit of the nourishment and cultivation of diverse and integrated Chinese culture.

Unification of the Emperor Yuan meteorological special

"Yang Yu's poetry and laws all follow the ancients, and the unified emperor and yuan meteorology are special."

Ye Shaoben, a Qing Dynasty scholar, commented on the poems of poets of past generations, and he praised Yu Ji and Yang Weizhen as representatives of the poets of the Yuan Dynasty, believing that their achievements could be traced back to the ancients, and were quite characteristic of the times, showing the grandeur of the great unified Yuan Dynasty. To be fair, compared with the Yuan poems, what can better represent the unique atmosphere of the Yuan Dynasty is the Yuan Qu. In the meta-song, it is mainly a scattered song.

Ye Shaoben's so-called "Imperial Yuan Meteorology", which we call "Great Yuan Meteorology", was the self-confidence brought about by the people of the Yuan Dynasty due to its unprecedented territory and extremely strong national strength. The formation of this spirit of the times is related to the origin of grassland culture, and it is also the fusion of grassland cultural spirit and Central Plains cultural spirit.

"Big" is the most typical era feature of the Yuan Dynasty, and the national name Dayuan is known as "Dadu". The national strength is strong, and the luck is grand, as the Yuanren Li Huansun said in the "Preface to the Endowment of the Great Capital": "When the country was prosperous, Ou Yubo was broad, Hong Wei was far away, and Zhan En was beside him." The Slovaks return to it, like the arch of the stars at the north pole, like the hundred rivers facing the East Sea. "Since the thousand ages, there has been no surname, but the present emperor is the most prosperous; within the four poles, there is no one capital, but most of the present capital is Dulong." ...... The breadth of its territory is unseen in the Shang Zhou and unheard of by the Han and Tang Dynasties; if it is said that its capital is strong, then Kun Han is not Xiong, and Jingluo is not honored. "This is the great weather of the country and the great weather of the capital." And "those who have great deeds of virtue will have a huge pen and a great text, which will be bold and vigorous, and reflect the eternals, so as to show infinity." "Literary works that match this also need a great atmosphere, with a huge pen and a huge pen, and they are bold. This aspect really depends on the means of the yuanqu artist. Guan Yunshi's song [Double Tone, New Water Order] "Imperial Capital Yuanri" can be regarded as representing:

Sai Tang Yu, The Great Yuan to the Great Ancient and Modern None. The sea beam is facing the Optimus Prime, and the jade belt is golden. Qingfeng yun will be dragon and tiger, thousands of households Hou Qianzhong Lu, sowing the light of the four seas for eternity.

"Great Yuan to Great Ancient and Modern Nothing" and "Spread the Light of the Four Seas for Eternity". Even compared with the momentum of Han Dafu, who is better? Guan Yunshi is a color repertoire composer, but what about Han Chinese composers? Then look at Ma Zhiyuan's [Zhonglu Pink Butterfly]:

To zhihuayi, the orthodox hall of the Great Yuan Dynasty, should be Qianyuan Nine Five Dragon Fly. Vance year, peaceful world, ancient Yan xiongdi, sun and moon brilliance. Joy is a harmonious mess.

[Drunken Spring Wind] The small land is exhausted, and the great blessing shade protects the helper. Xianxian Wen Wu Zai Yao Tian, Hi, Hi! Grain abundance, happiness for all people, four square Ningzhi.

[Absorbing Mu'er] good at teaching him, returning to Houde, the Dragon and Tiger Wind and Cloud Society in peacetime. Emperor Shengming, Dayuan Hongfu and Tianqi!

In the past, the study of Yuan Sanqu paid more attention to its satire and leisure, and did not pay much attention to these works of high song and prosperity. This is actually a very important part of the Yuan Dynasty Sanqu. The literati of the Yuan Dynasty had a strong sense of prosperity, and they believed: "Fang Jinwen ruled Fang Zhang, mixed with one, and opened up what was never tasted, and Tang Gai was not enough to be prosperous." "The works of the prosperous world should show the scene of the heyday: "The author of the prosperous time, such as the Hun River Houyue, does not pretend to be like the wind and the moon; such as the yan pine and cypress, does not compete with the flowers." ”

This self-confidence and open-mindedness of the Yuan Dynasty people is closely related to the grassland culture. The Ming dynasty Li Kaixian believed that the prosperity of the Yuanqu was also directly related to this, and his "Nishino Spring Tour Word Order" said: "Taxes are light and clothing is sufficient, clothing and food are sufficient and singing, happy to speak from the heart, long as a set, short as an order, the legendary drama text is luxurious and accurate." ”

This had a great influence on the mentality of the literati, and in turn influenced the literature of the Yuan Dynasty. Of course, the meta-song will reflect this. Such as Wu Renqing [Yue Tun Dou Quail]:

The weather is melting and windy. The flowers are on the south branch, and the ice is on the north side. Celebrate the New Year and fill the jade liquid. Pray to the forbidden que and pray. Dance dust, long live the mountains.

[Qingyuan Zhen]... They all took over small countries and unified the Jiangshan Sheji.

Taiping had nothing to do to strike the flag, wished the holy birthday as a feast, and the hundred officials and civil servants were in two shifts. During the endless period of rejoicing, they all ate drunk as mud.

This kind of self-confidence brought about by the strength of the country and the vast territory is also fully reflected in the "Yuan History and Geography": "Since feudalism has become a county, there are people under the heavens, and the Han, Sui, Tang, and Song dynasties are prosperous, but the territory is wide, and the salt does not catch the Yuan." Then briefly describe the glorious process of the Yuan Dynasty's opening up and expanding the territory: "From Shuo Desert, and the Western Regions, Pingxi Xia, The Annihilation of the Jurchens, the Subjects of Goryeo, the Dingnanzhao, the Lower Jiangnan, and the World as One." Describe its four poles as far away: "The north exceeds the Yin Mountains, the west pole quicksand, the east reaches the Liaozuo, and the south crosses the sea surface." Among the four poles, the one that stands out is the northwest: "There are those who have a limit on the number of miles!" "The yuanqu composer, this super self-confidence, written into the lyrics, shaped into the song.

The self-confidence of the times has also evolved into everyone's confidence. The People of the Yuan Dynasty did not have too much implication and implication, always bluntly expressed their conceit for their own abilities, and did not hide their desire for fame, wealth, and pleasure. The singing and song of Boyan and Zhang Hongfan quoted above highlights this point. Similar works, such as Yao Fu [Zhonglu Yang Chunqu]: "Ink grinds the North Sea Oolong Horn, and the pen dips the Nanshan Purple Rabbit." The flower note spreads the stone platform high, the poetry is heroic, and the purple robe is exchanged! ”

Strong self-confidence makes Yuanqu full of attention and full of vigor.

Of course, the "bigness" of the "great yuan meteorology" is not only the vastness of the territory, but also reflected in the large and tolerant. In the Yuan Dynasty, different ethnic groups and even races coexisted, different production and lifestyles coexisted, multiple religions and cultures coexisted, and social life and ideological concepts were extremely open and inclusive. In terms of cultural spirit, it is reflected in the greatness of openness and tolerance.

A major feature of the Yuan Dynasty notes is that there is no hidden in the straight book, and the Yuan Qu is more prominent in this regard. Zhu Quan's "Taihe Zhengyin Spectrum" says that Yuanqu has a "Shengyuan body", also known as "no secret body", and its body "has the rule of Yongxi quickly, and every word is unscrupulous". The "unabashed" and "unscrupulous" of Yuan Sanqu can be understood from some extreme examples. The color composer Bu Kumu, the son of Yan Zhen, a meritorious warrior from the Yuan Dynasty, was deeply trusted by Kublai Khan, and at the age of 36, he began to worship hanlin scholars to undertake the zhizhi system, and also studied the history of the country, and later worshiped Pingzhang's political affairs. He has a set of [Xianlu Dian lips] "Ci Dynasty", and we will choose a few of them to see:

[Yuan He Ling] was free from the mountains and forests, and was more unbearably than in the city. Yutang Jinma asked Qiong Lou, controlling the bead curtain twelve hooks, the subject went to the outside of the Cao'an Gate to see Yingzhou, to see the end of the white cloud sky.

[Willow Leaf] is to see the mountains and rivers, not in love with your city Cao Zhongwu thick. It is difficult to think of high-ranking officials and heavy duties. Learn to cultivate, cultivate the fields, and be carefree.

Another color composer, Guan Yunshi, who once resigned from Hanlin to study for a bachelor's degree and sold the "First Human Happiness Pill" in Hangzhou, is also a legendary figure. His [Double Tone Qingjiang Introduction] is more dashing than Bu Kumu:

Abandon the micro name to go to the heart quickly, a smile outside the white clouds. Zhiyin three or five people, how to hinder the pain of drinking? Drunken robe sleeve dance is too narrow.

Shelter from the wind and waves, go to the nest of peace, just clean up, wake up drunk or awake, lie down heavy and lie down. Whoever seems to be so idle is like me.

The impermanence of life, the unpredictable blessings and blessings, and the illusion of glory are common expressions in the literary works of past generations. But to put it bluntly like this still gives people a great impact.

Yuanqu has a broad and profound spirit of social criticism, and researchers say a lot, which will not be repeated here. It should be emphasized that the reason why these works were produced in the Yuan Dynasty and widely circulated was because society was extremely inclusive— large and tolerant. This is key, but has been ignored by many literary historians in the past.

2

"Drum Belly Tour" and "Anti-Sound Song"

If you ask, what is the most prominent spiritual pursuit and personality performance of the yuanqu artist?

Different people have different answers, which in my opinion are appropriate and wild, which are referred to here as "drum belly tour" and "anti-sound song".

"Drum belly tour" is from "Zhuangzi Horseshoe": "When Fu Huxu was born, the people did not know what to do, did not know what to do, and they fed and xi, and swam with drum belly. "Describe the state of people in ancient times who had no desires, no desires, no thoughts, no actions, and freedom. Many literati in later generations yearned for this aimless, unattainable, and forgetting realm, and for a suitable life in the chaotic and unopened era. For example, the Tang Dynasty poet Cen Shan has a poem "Nanxi Beiye" (one said to be composed by Jiang Xian): "Idle and self-satisfied, drum belly drunk in the middle of the swim." ”

"Anti-sound song" describes the extreme publicity and expression of individual will, from Pei Song's note "Romance of the Three Kingdoms" quoting Wei Zhao's "Book of Wu": "(Stay) praise as a general, the enemy must first be called heaven, because of the anti-sound and singing, left and right, Bi Nai into battle, the battle is invincible." "Resistance to the sound is high-pitched, also known as "anti-sound", the Tang Dynasty Lu collected the "Huaisu Shangren Cursive Song" described Huaisu as cursive: "Crazy paper is inexhaustible, throwing pens to resist the sound and shouting." YuanHao's "Partridge Heaven" lyrics write about his old age wildness: "Long-sleeved dance, anti-sound song." Moonlight shadows two babble. Drunk to know that he was laughed at by others, helpless style has not diminished! The same mood is rarely written in the shu [Xianlu Basheng Ganzhou] song:

Stuffy with village wine to drink empty tank, is not a one-term talk. Clap your hands on the fishing song, high or low.

Adaptation and wantonness, which seem to be far apart, can actually be attributed to unrestrained, do whatever you want, willful, or arbitrary. Always pursue moderation, and when you want to vent, you will let it go wild. Suitable and wild, in the Yuan Dynasty song has a performance beyond the predecessors. This is also a unique literary phenomenon of the Yuan Dynasty, which is culturally blended and the environment is relaxed.

Let's start with the fittings. There are many works that express the suitability of life, and many composers have such works. For example, Guan Hanqing's [Nan Lu Four Pieces of Jade] "Leisure":

Old wine thrown, new drunk. The old tile basin laughed haha, and the monks of the common mountain were idle and chanted. He made a pair of chickens, and I made a goose, idle and happy.

"Old tile basin while laughing haha" is quite symbolic, "leisurely and happy" is exactly what they want - leisurely and refreshing. They don't care about pomp and circumstance, they don't pay attention to decency, life is my life, just be comfortable, no matter what others think. Lu Zhi[Double Tone, Intoxicated East Wind] "Idle House" is somewhat indulgent:

Just left the green water and green mountains, and came to the bamboo hedge hut house early. Wildflowers bloom by the side of the road, and the village wine trough is squeezed. Straight food is under-answered. The drunken mountain boy did not persuade us, and the yellow flowers on the white hair were randomly inserted.

The places where qu family can live comfortably seem to be under the mountains and forests and the waterfront. The common features of these places are leisure and tranquility. In the imagination of the composer, it is still as beautiful as a landscape painting, which is desirable. As Zhang Kejiu [Shang Tuo WuYe'er] "Ci Yun" (a saying Xu Zaisi works, titled "Instant Scene") wrote:

Mandarin duck pool, parrot island, bamboo leaf small fishing boat. Smoke in the trees, mountain out of the building, waterside gulls. Fan noodles Xiao Xiang twilight autumn.

Water bamboo smoke trees, forming a picture of The Fan Face of Xiaoxiang Twilight and Autumn. Composers imagine themselves as fishermen, woodcutters or crofters, experiencing spiritual peace and happiness in the mountains. As Lu Zhi [Double Tone Toad Palace Song] said, "Taigong Zhuang on, in the willow shade, break the watermelon." "Watch the buckwheat blossom and the mung beans sprout. Nothing is nothing, happy to be a bookmaker. ”

Let's take a look at a few of the songs of Guan Shiping's "Hidden Escape" set:

I built a bamboo hedge hut under the forest by the water's edge. During the leisure season, watch the mountains and water, sulk and gossip with the fishing trees. I planted this green willow, yellow chrysanthemum, and the mountains and forests were picturesque. When I came, I looked at the green mountains, looked at the green water, pointed to the falling flowers, ah, locked my heart ape horse.

[Yuan He Ling] covered the wood gate with the sunset, and the bright moon hung to the head of the staff. I saw the fishing mall in the shadow of the green mountain, slow and leisurely. Bored to the end of the world alone, the village mash drink Xingjia.

[Victory gourd] I will be idle and laughing, planting mulberry hemp left and right, and idly watching the garden noise and evening crows. No worries, donkeys idle, playing in the wild man's home.

[Backyard flowers] I fry this tender cranberry with leaves, and fry the fine taro cake in oil. White wine magnetic cup swallow, wildflower head inserted. Smile and sizzle when you come, and the village mash will drink. A puddle around the firewood, near the mountain village to see the falling flowers, is the Home of Penglai Heaven and Earth.

The environment is pristine and simple, everything is natural and clever, and life is slow-paced. In the eyes of the composer, this is a wonderland. Ali Xiying built herself a "lazy cloud nest" of the soul, and its [double tone · temple front joy] "lazy cloud nest" cloud:

Lazy cloud nest, wake up when the poem is drunk when singing. Yaoqin ignored the book and lay down, doing her best to grind herself. Want to live your life? Wealth and nobility are more blooming than flowers, and the sun and moon seem to pass by. He laughed at me, I laughed.

This suite has attracted countless Japanese compositions and aroused strong resonance among the people of the time.

Take a look at the high-frequency words in these songs, the adjective is "idle". What the composer asks for is a "leisurely and happy life". "There is idleness in idleness, and the heavens and the earth are wide and wide" (Chen Cao'an [Zhonglu Hillside Sheep] "Sighing"). "The pillow book in front of the window... Happy idle characters. (Wang Yuanheng [Zhonglu Chaotianzi] "Return to Hermitage"). The noun is "mountain". The mountains imagined by the Qu family are a paradise, their ideal country, the sustenance of the soul, which is far away from the dust net and has full physical and mental freedom. "Mountain" seems to be their favorite, and some works almost have "mountain" in every sentence. For example, Zhang Yanghao [Double Tone, Yan ErLuo and Victory Order] and Sun Zhouqing [Double Tone Toad Palace Song] "Self-Music":

Clouds come to the mountains better, clouds go to the mountains are picturesque, the mountains are obscure because of the clouds, and the clouds are high and low. Leaning on the cane standing on the clouds and sand, looking back at the mountain family. Wild deer sleep on mountain grass, mountain apes play with wild flowers. Yunxia, I love mountains pricelessly. When you look at it, Yun Shan also loves us. (Zhang Yanghao [Double Tone, Goose Fall and Victory Order])

The grass ball is marked directly opposite the mountain hollow, the mangosteen cooking japonica, and the landscape sencha. Sweet potato, mountain onion leek, mountain fruit mountain flower. The mountain slid ice knocking on the crescent, sweeping the mountain clouds to scatter the forest crows. The mountain color is good, the mountain view can be boasted, the mountain outside the sun, the mountain people.) (Sun Zhouqing [Double Tone Toad Palace Song] "Self-Music" Part II)

The first song has 56 characters and 9 "mountains", and the latter 57 characters have 15 "mountains". The mountain forest in the work, which is not in reality, is the imaginary spiritual paradise of the composer. It doesn't matter whether this paradise is in the mountains, under the forest, or a waterfront idyll, all these places actually only exist in their hearts. Beyond the red dust, there was nothing but nothing, and there was a quiet elegance that was not disturbed. For example, Qiao Ji [Nan lu Yu Jiaozhi] "Leisure Two Songs" one of them:

Under the mountain forest, there are grass huts with elegant windows. Cangsong green bamboo can be pictured, near the smoke village three or four homes. Fluttering good dreams with falling flowers. The world tastes like chewing wax, and one of his hair is bright. Don't be in vain. Self-growing melons, self-picking tea, alchemy in the furnace. Read a volume of the Tao Te Ching and speak for a while. Close the hibiscus hedge, lie drunk on the gourd rack, and relax as much as you can.

"Idle and relaxed" is its foothold. The peace of mind is the happy country, so there is no difference between the smoke and waves and the boating of the five lakes, and living in the forest. Please see Sun Zhouqing's "Fisherman":

In the waves, a flat boat is a leaf, nesting everywhere, and it is difficult to stay in the sky. Go to the year Lanjiang, this year Xiangpu, the day after the Baqiu. Green crab kasa white apple ferry, green coat red indigo beachhead. Don't understand the idleness, call yourself worry-free. Reeds on both sides of the strait, a sleep.

There is no difference between "walking everywhere" and "under the mountain forest", whether it is living or swimming, freedom is good. Chen Cao'an's [Zhonglu Hillside Sheep] says:

Although the career is old, there is enough food and clothing, and it is easy to find a livelihood. One body is worried, one heart is worried, and the body and mind are always in the hands of others. If the way of heaven can be kept according to its division, the body is also free, and the heart is also free.

Getting rid of the world network, the body is also free, the heart is also free, is the real pursuit of the composers.

Let's talk about the wild. The frenzied degree of the Yuan Dynasty's sanqu has reached its peak in the history of Chinese literature, and there is no era of works of any kind that can be compared. Read the "Village Drink" of the Anonymous [Zhenggong Sai Hongqiu] and you can feel:

Bin is also drunk The lord is also drunk and the servant is also drunk, singing and dancing and laughing for a while. No matter what is thirty years old, fifty years old and eighty years old, you also kneel and he kneels and kneels. There is no complicated string rush to urge, eat until the red wheel day falls west. The plate that was beaten was also broken, and the bowl was also broken.

This "villager" madness is the madness of the "villager" in the composer's pen and heart, and it shows the wild spirit of the composer.

The madness of the Yuan Dynasty composers has a variety of manifestations.

Yao Fu [Double Tone Shouyang Song] "Wing Li Bai":

Noble concubines kiss Qingyan, Lux and take off their boots, and the royal spice spoon is not thankful. Drunken blur will frighten the book to write, what to write? Willow shore is windy and moonless.

This is the madness of arrogance and ridicule.

Guan Yun Shi [Double Tone Qingjiang Introduction]:

Abandon the micro name to go to the heart quickly, a smile outside the white clouds. Zhiyin three or five people, how to hinder the pain of drinking? Drunken robe sleeve dance is too narrow.

This is the madness of freedom and openness.

Zhang Kejiu [Double Tone Gyeongdong-won] "Nine Rhymes with Ma Zhiyuan's Ancestors" Part V:

Poetry is released, the sword is strong, and the hero does not compare the poor. Cut the dragon in the river, shoot the eagle among the clouds, and wave on the seat. He has to laugh and laugh, and he loses his foot and laughs.

This is the madness of Haojie and Yashi.

The composers also called themselves saints, but such wantonness was not what saints deserved. Confucius taught that scholars should "walk in the middle way." It is not easy to walk in the middle way, at least it should be "crazy". The Analects of the Zilu says, "If you don't walk in the middle and go with it, you will be crazy!" The madman is enterprising, and the cunning is not doing anything. He Yanji quoted Bao Xianzhi and said: "The middle line, the line can get one of them." Those who can't do what they say are the ones who want to be crazy. Crazy people, enterprising in the way of good. Those who are cunning, keep the festival and do nothing. Those who want to get these two people will advance and retreat in time, and take the constant one. ”

The "madness" that Confucius spoke of was by no means the madness of the Yuan Dynasty composers, but those who were ambitious and ambitious and enterprising; "crazy" refers to those who know that their strength is insufficient and are therefore restrained and self-disciplined. Yuan Dynasty composers pursued the full publicity of the individual spirit, and "shouted high praise". The personality of the composer is expressed through the song, and the emotion is vented through the song, thus forming the unique style of the Yuan Dynasty Sanqu.

Yuanqu integrates multi-ethnic cultural factors, and was produced in the Yuan Dynasty where multicultural coexistence coexisted and went to glory. She is a product of a specific era. Its unique wind god cannot be copied by future generations.

"Chu Zhi Sao, Han ZhiFu, Six Generations of Piao Language, Tang Poetry, Song Zi, Yuan Zhi Qu, are all so-called literature of one generation, and the future generations can not succeed them." The modern scholar Wang Guowei's statement in the "History of Song and Yuan Opera" about "literature from generation to generation" has a great influence, but in fact, this is not his invention. As early as the Yuan Dynasty, Yu Ji, a collection of officials, scholars and poets, once commented: "In the rise of a generation, there must be a generation of masterpieces that are enough to be known to future generations: the articles of Han, the poetry of Tang, the Taoology of Song; the music house of the national dynasty, which is also opened in the flourishing of the law of qi numbers." The "Music House of the National Dynasty" mentioned here is the Yuan Qu.

Undoubtedly, Yuanqu has created a generation of splendor in Chinese literature and has long become a precious heritage in the treasure house of Chinese culture.

Source: China Nationalities Magazine, No. 3, 2022

Editor-in-charge: Huang Yun | Review: Liang Qing | Review: Meng Shuqi | Producer: Wei Xiuguan