Text|Gai Er said
Edit|Gai Er said
The reshaping of Liu Bang's character image in the dramas of the Yuan, Ming and Qing dynasties includes both the reshaping of Liu Bang's positive image and the reshaping of Liu Bang's negative image.
Among them, a large number of positive images have been reshaped to make Liu Bang's image of Mingjun more deeply rooted in the hearts of the people.
The reshaping of Liu Bang's image
There are 19 reconstructions of Liu Bang's characters in the dramas of the Yuan, Ming and Qing dynasties, involving 9 dramas and 4 articles in the "Historical Records".
Among them, in the reconstruction of Liu Bang's character image, it not only reconstructs the positive image of Liu Bang's open-mindedness, but also reconstructs the negative image of Liu Bang's slow and insulting.
The number of reconstructions of Liu Bang's positive image is far greater than the number of negative images.
There are 16 places in the Yuan and Qing Dynasty dramas on the positive image of Liu Bang, 8 dramas, and 2 articles in the "Historical Records", as shown in the following table:
As can be seen from the above table, when the Yuan, Ming and Qing dynasties reconstructed the positive image of Liu Bang, they followed the description of Liu Bang in the original text of the "Historical Records" such as "generosity" and "benevolence".
When the play was reconstructed, Liu Bang's appearance and image description were added. For example, the Yuan miscellaneous drama "Han Gao Huang Mao Qi Yingbu" wrote that Liu Bang had a "Long Zhun Dragon Face".
The Ming Southern Opera "The Story of a Thousand Golds" directly called Liu Bang "the true lord of the world". The Ming miscellaneous drama "Fortune and Conspiracy to Follow He to Deceive Yingbu" compares Liu Bang's virtue with "Yao Shunyu Soup".
Through the reconstruction, the drama portrays the character of Liu Bang's true son of heaven more vividly. The positive portrayal of Liu Bang in the drama reflects the dramatist's inner expectation for the Shengming monarch.
There are 2 reconstructions of Liu Bang's negative image in the dramas of the Yuan, Ming and Qing dynasties, involving 2 dramas and 3 articles of "Historical Records", as shown in the following table:
As can be seen from the above table, when reconstructing Liu Bang's negative image, the Ming Southern Opera "The Story of a Thousand Gold" used the original text of "Historical Records" to describe Liu Bang as "slow and insulting".
When the Qing miscellaneous drama "Dream" reconstructed Liu Bang's negative image, it added the negative image of Liu Bang as a scoundrel and a liar.
The drama reconstructed Liu Bang's negative image very little, and later dramas shaped Liu Bang's character image better and better.
At the same time, the drama reconstructs a large number of positive images of Liu Bang, while avoiding the negative image of Liu Bang, which also reflects the world's awe of imperial power.
The transmutation of Liu Bang's image
In the dramas of the Yuan, Ming and Qing dynasties, the specific situation of Liu Bang's character reconstruction is shown in the following table:
As can be seen from the above table, Liu Bang's positive image was reconstructed a total of 16 times, including 4 in the Yuan Dynasty and 9 times, 3 in the Ming Dynasty and 6 times in the Ming Dynasty, and 1 in the Qing Dynasty.
Liu Bang's negative image was reconstructed a total of 2 times, including 1 time in the Ming Dynasty and 1 time in the Qing Dynasty. In the dramas of the Yuan, Ming and Qing dynasties, the positive image of Liu Bang was the highest reconstruction, accounting for 88.8%.
A total of 25 times the reconstructing of Liu Bang's image in the Yuan, Ming and Qing dynasties, of which 17 times were reconstructed in the Yuan Dynasty drama, accounting for 68.0%:
The Ming Dynasty drama reconstructed Liu Bang's image 7 times, accounting for 28.0%, and the Qing Dynasty drama reconstructed Liu Bang's image once, accounting for 4.0%.
In the dramas of the Yuan, Ming and Qing dynasties, the amount of reconstruction of Liu Bang's character image in the Yuan Dynasty drama was the largest, and the number of Liu Bang's character reconstruction in the Qing Dynasty showed a downward trend as a whole.
The characteristics of the reconstruction of Liu Bang's character image in the dramas of the Yuan, Ming and Qing dynasties are mainly manifested in the following aspects:
First, when the dramas of the Yuan, Ming and Qing dynasties reconstructed the positive image of Liu Bang, it made the image of Liu Bang's true son of heaven more distinct. This reflects the expectation of the Holy Monarch.
Second, the dramas of the Yuan, Ming and Qing dynasties portrayed Liu Bang's character image more and more positively, while avoiding Liu Bang's negative image. This reflects the world's reverence for imperial power.
Theatrical structure
The details of Liu Bang's drama reconstruction are shown in the following table:
As can be seen from the above table, Liu Bang's dramatic reconstruction includes the linguistic, psychological, behavioral and image reconstruction of the characters.
Among them, there were 42 times of verbal reconstruction, accounting for 37.2%, 1 time of psychological reconstruction, accounting for 0.9%, and 52 times of behavioral reconstruction, accounting for 46.0%.
A total of 18 images were reconstructed, accounting for 15.9% of the Yuan, Ming and Qing dynasties, when reconstructing Liu Bang, they focused on reconstructing Liu Bang's language. The drama of the Yuan Dynasty paid the most attention to the reconstruction of Liu Bang's character behavior, with a total of 19 times, accounting for 55.9%.
The drama of the Ming Dynasty paid the most attention to the reconstruction of Liu Bang's character language, with a total of 18 times, accounting for 43.9%. Qing Dynasty drama attaches the most importance to the reconstruction of Liu Bang's character language and behavior, which is 18 times, accounting for 47.4%.
In the reconstruction of dramas in the Yuan, Ming and Qing dynasties, the highest reconstruction rate was the behavior in the plot of Zhao'an Yingbu, with a total of 22 times, accounting for 19.5%, followed by the reconstruction of Liu Bang's positive image, with a total of 16 times, accounting for 14.2%.
Again, Liu Bang's language in the plot of the Hongmen Banquet and his behavior in the plot of entering the customs were both 9 times, accounting for 8.0%.
Liu Bang was reconstructed 113 times in the Yuan, Ming and Qing dynasties, including 34 in the Yuan Dynasty, accounting for 30.0%, 41 in the Ming Dynasty, accounting for 36.3%, and 38 in the Qing Dynasty, accounting for 33.6%.
The dramatic reconstruction of the Yuan, Ming and Qing dynasties reached its peak in the Ming Dynasty and declined in the Qing Dynasty. The reconstruction of Xiang Yu's characters in the dramas of the Yuan, Ming and Qing dynasties is mainly manifested in the following three aspects:
First, taking Liu Bang's character behavior in the plot of Zhao'an Yingbu with the highest reconstruction rate as an example, it can be seen that when the drama of the Yuan, Ming and Qing dynasties reconstructed the plot of Zhao'an Yingbu, it highlighted Liu Bang's ability to manage and use talents.
In the "Historical Records: Xiang Yu Benji", it is briefly described that Liu Bang got Yingbu. "Historical Records: Gaozu Benji" briefly describes Sui He persuaded Yingbu to defect to Liu Bang, and then Liu Bang broke the Chu army.
"Historical Records: The Biography of Bulie" briefly describes the plot of Yingbu coming to the Han camp and seeing Liu Bang sitting and washing his feet. When the dramas of the Yuan, Ming and Qing dynasties reconstructed Liu Bang's character behavior, they carried out dramatic processing on the basis of the original text of the "Historical Records".
It enriches Liu Bang's character behavior, and specifically describes the reasons why Liu Bang is deliberately angry. The refactoring of the drama makes the storyline more plausible.
Second, taking the positive image of Liu Bang with a high reconstruction rate as an example, it can be seen that the Yuan, Ming and Qing dynasties highlighted Liu Bang's image of Mingjun when reconstructing.
In the "Historical Records", Liu Bang's positive image is shown as generous, benevolent, and has the atmosphere of a son of heaven. When the dramas of the Yuan, Ming and Qing dynasties reconstructed the positive image of Liu Bang, they portrayed Liu Bang's character image closer to the true son of heaven.
The drama's portrayal of Liu Bang's positive image makes the character of Liu Bang closer to the image of the Shengming monarch in the author's mind.
Third, taking Liu Bang's language in the plot of the Hongmen Banquet with a high reconstruction rate as an example, it can be seen that when the dramas of the Yuan, Ming and Qing dynasties were reconstructed, Liu Bang's character characteristics of being wise-minded, good at accepting advice, calm in case of trouble, and thoughtful were highlighted.
In "Historical Records", through Liu Bang's character language, it can be seen that Liu Bang is a wise, good at admonishing, and thoughtful person.
Liu Bang accepted Zhang Liang's advice, he calmly and calmly analyzed the situation, and won Xiang Bo at the Hongmen banquet the next day, Liu Bang eased Xiang Yu's hostility with a respectful attitude and a modest tone.
When the dramas of the Yuan, Ming and Qing dynasties reconstructed Liu Bang's language, they basically followed the original text of "Historical Records", and also continued Liu Bang's wise and thoughtful character characteristics.
The play also added the action of kowtowing to Liu Bang's language. The reconstruction of the drama has injected new blood into the image of Liu Bang in "Historical Records", making Liu Bang's character image vitality and more vivid.
Fourth, taking Liu Bang's behavior as an example in the plot of entering the customs with a high reconstruction rate, it can be seen that the reconstruction of the dramas of the Yuan, Ming and Qing dynasties made Liu Bang's character image more lofty.
In the "Historical Records", Liu Bang originally planned to stay in the Qin Palace, but he accepted the advice of his courtiers and returned to the throne.
When the Yuan, Ming and Qing dynasties reconstructed Liu Bang's behavior, four plays followed the original text of the "Historical Records".
brief summary
There is also a drama that writes that Liu Bang took the initiative to ask the soldiers to seal up the warehouse of the Qin Palace and retire to the throne.
The author believes that in the play, Liu Bang reviewed the fall of the Qin Dynasty and ridiculed the harm caused to the country by the Qin Dynasty's construction of the Great Wall and the construction of palaces.
The drama also expands on the specific situation in which the Han army sealed the treasury. The reconstruction of the drama enriches the language of the characters and makes Liu Bang's character image more lofty.
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