Mei Jie's note: Mr. Gui Yuqiu is an outstanding expert in the study of Huangmei Opera in Huangmei, Hubei Province, and his outstanding contributions to the study of the history of Huangmei Opera include the discovery of Bei Jilin's "Huangmei Bamboo Branches" and He Yuanbing's "Tea Picking Song", one of which is "Xiahe Tune (Huangmei Dialect)". In order to restore the historical truth, he has written "Also Talking about He Yuanbing", <采茶曲>and what is published here is "The Formation of Beijilin and Huangmei Opera". This article was written in the middle of the night on March 28, 2024, and on the basis of Gui Yuqiu's research, it is further analyzed in depth, pointing out that the creation time of Bei Jilin's "Huangmei Bamboo Branches" is not the ninth year of Daoguang as judged by Mr. Gui, but the last year of Qianlong, which proves that Huangmei Opera was formed in the Qianlong period at the latest, and points out that Huangmei tea tea, Huangmei Taoism and Huangmei real people together constitute the sufficient and necessary historical conditions for the formation of Huangmei Opera that does not exist in other counties and cities. At that time, there was no news from the Xishui Museum, but today I learned that the Xishui Museum does have a collection of Bie Jilin's "Ask the Flower Water Pavilion Poetry Collection" that Mr. Gui Yuqiu once specified the place to read.
"Huangmei Bamboo Branches"
The formation of Beijilin and Huangmei Opera
In recent years, the study of the origin and formation of Huangmei Opera has become a small academic hotspot in the field of opera, among which Anhui scholars have done a lot of work and published the most papers. In the study of the origin and spread of Huangmei Opera, there are two poems that are the most widely circulated, one is "Huangmei Bamboo Branches" by Bei Jilin, and the other is "Tea Picking Song" by He Yuanbing. These two poems point to the origin, formation and spread of Huangmei Opera to Huangmei in Hubei. In order to overturn the conclusion that Huangmei Opera originated and was formed in Huangmei, Hubei, some scholars have searched for the original sources of these two poems.
For example, based on the nine-year edition of "Jiaotong Villa Poems and Grass" in the Jiangxi Provincial Library, Mr. Xu pointed out that Mr. Gui Yuqiu, who first disclosed this poem, was suspected of fabricating historical materials, and then tried to overturn the claim that Huangmei Opera originated in Huangmei, Hubei. This method of learning based on the original materials is undoubtedly very desirable, and it is also the easiest to achieve academic results, such as Mr. Xu Zhangzhang made a scientific judgment on the issue of arguing that "Tea Picking Song" was composed in the second year of Tongzhi. Unfortunately, because Mr. Xu is good at imagining, distorting his understanding, preconceived, and over-interpreting, he is full of errors and omissions, and fails to achieve the goal of overthrowing Gui Yuqiu. I have written an article to refute it, pointing out that He Yuanbing's "Tea Picking Song" proves the objective historical fact that Hubei Huangmei Opera was introduced to Jiangxi in the south. The sentence "all made Huangmei County dialect" explains the grand occasion of Hubei Huangmei Opera in northeast Jiangxi before and after Tongzhi. At the same time, there are also people singing Huangmei opera in Anqing, Anhui Province, Guangxu five years "declaration" contains "Huangmei prostitution play should be banned" said: "Anhui Province Beiguan every year there are singing Huangmei tune small opera, there are more than 20 people in a class, and there is no novelty enough to move people's ears, but there are always one or two small plays after the play, Hua Dan, clown performance, all kinds of ugly, and Jiang Province's flower drum play is not much different", to take Jiangxi flower drum opera (one of the aliases of Huangmei opera) to compare, it can be seen that Jiangxi Huangmei opera style is prosperous. Cai Zhongxian, known as the ancestor of Anhui Huangmei Opera, and Ding Yongquan, the founder of Anhui Huangmei Opera, were repeatedly banned from performing by Anqing officials during the Republic of China, and Ding Yongquan was even "imprisoned" and "bullied" because of this, so that "Anqing Cultural and Historical Materials" said that in the late Republic of China, "the vast majority of Huangmei Opera troupes and societies basically collapsed...... There are only two or three incomplete Huangmei opera troupes left in the entire Anqing area, which makes Huangmei opera on the verge of despair." The argument that Huangmei Opera "developed and grew in Anqing" should refer to Anqing's "great development of Huangmei Opera after liberation" recognized in Anqing, not the late Qing Dynasty and the Republic of China period when Huangmei Opera was introduced to Anhui from Huangmei in Hubei. (Lu Hongfei, Wang Changan and others believe that Huangmei tea was introduced to Anhui from Hubei, and then took root in Anhui, developed and grew and formed Huangmei opera, which is obviously inconsistent with historical facts.) Moreover, Huangmei Opera developed in Anhui, not Anqing, after all, the "drama reform" in the 1950s gave birth to modern Huangmei Opera, which was mainly completed by the Anhui Huangmei Opera Troupe in Hefei. ）
So, is it possible that Mr. Gui Yuqiu's "Huangmei Bamboo Branches" disclosed by Mr. Gui Yuqiu also fabricated historical materials? Does it prove through this poem that Huangmei Opera was formed in the early years of Daoguang at the latest? Based on ancient books such as "The Genealogy of Other Clans," "Miscellaneous Works of Tianmen Academy," "Brief Biography of Hubei Poems," and "Hubei Art and Literature Chronicles," the author further studies the poem "Huangmei Bamboo Branches" discovered by Mr. Gui Yuqiu, and points out the specific formation age of Huangmei Opera at the latest.
Mr. Gui Yuqiu disclosed that Bie Jilin's "Huangmei Bamboo Branches" is as follows: "There are many rice grandchildren under the cloudy mountain, and the fish in Taibai Lake are waves. Meet this year's owner, and the villages sing tea picking songs. And pointed out that the author's own note: "Yi likes to pick the recent events of this county, echo the words, and sing tea picking." (See Gui Yuqiu's "Huangmei Tea Opera Chronicle" edited by Gui Yuqiu) Mr. Gui Yuqiu said that this poem comes from Bei Jilin's "Asking Flowers and Water Pavilion Poetry Collection" collected in the Huanggang Xishui County Museum. Through searching the National Library, it was found that there was a collection of the book "Asking the Flower Water Pavilion Manuscript", and the annotation item indicated "The title page of the book is entitled "The Poetry Collection of the Flower Water Pavilion", and the signature was "Written by Beiwen Yun". According to this clue, I found a material from the "Genealogy of Other Clans": "Wen Yugong, a native of Jingling (Tianmen) Nanxiang (now Beijia Laowuwan, Hujiaguai Village, Maozui Town, Xiantao City), was born in 1760, became a Bagong student in 1789, and was appointed to Huangzhi County, Henan Province in 1817, at the age of 84, and wrote "Asking Flowers and Water Pavilion Poems" (now treasured in the Beijing Library). According to the record of "Hubei Poetry Expedition Biography": "Beiwenyu, the word Donghe, the number Jilin, Jiaqing Bagong, Guanzhi County, there is a collection of poems of Asking Huashui Pavilion." "Hubei Art and Literature Chronicles" contains: ""Ask the Flower Water Pavilion Poetry Collection", written by Qing Beiwen Yu ("Tianmen Chronicles"). Wen Yun, the word Donghe, the number Jilin, Tianmen people. Qianlong paid tribute in the fifty-fourth year, and the official Huangzhi County. It can be seen that Bei Wenyu is Bei Jilin. "Genealogy of Other Clans" also contains: "Gong Wenyu, appointed as the teacher of Huangmei County, Huangzhou Prefecture, and alternate magistrate of Neihuang County. This experience is also comparable to that of Bei Jilin, who served as the instructor of Huangmei, but the "Jiaqing tribute" is not right, and it should be based on the genealogy and the "Hubei Art and Literature Chronicle" recorded in the 54th year of Qianlong (1789).
"Ask the Flower Water Pavilion Poetry Collection"
In the "Miscellaneous Works of Tianmen Academy", an article "Asking the Flower Water Pavilion Manuscript" was included, which further proved that Bei Jilin was Bei Wenyu, and served as an instructor of Huangmei during the Qianlong period. Some people believe that the author of "Miscellaneous Works of Tianmen Academy" is Lu Jialing, but in fact it is Xiong Shipeng (1755-1843), a Jinshi in the tenth year of Jiaqing, and Lu Jialing is only the commentator and engraver of the book. The article "Asking the Flower Water Pavilion Manuscript", judging from the content, is actually the preface of the book "Asking the Flower Water Pavilion Manuscript". Bei Wenyu and Xiong Shipeng are both from Tianmen, Xiong Shipeng is a Jinshi, and he is a figure in the Hubei literary circle during the Jiadao period, and Bei Wenyu is just a tribute, and it is no longer appropriate for him to ask Xiong Shipeng to make a preface. Xiong Shipeng said in the article "Ask the Flower Water Pavilion Manuscript": "Poetry, the rest of the matter. There are those who have no ambition, or they are happy to do it, and the scholars who hold Jinglun as useful are not only interested in this. Don't Jun Ji Lin sex and elegance, and Zhi Zhi with the world, whenever the year of the science test, up and down Ying'e, and Wuyi celebrities side by side, juanjuan such as green bamboo and green trees, look at the people who are not in the dust. Wu Baihua and Jitang are both talented, ascended to the Diocesan Department, took the court examination, obtained a high level, and was elected to teach Huangmei, which was a matter of opinion or regret for a while. Ji Lin smiled and said: "It's a matter of time for the teaching staff to go to the county order! Then he happily boarded the bus and left. 'Meiyi is the land of ancient immortals and Buddhas, and there are four ancestors and five ancestors in the dojo. An east mountain, a broken front mountain. Taste the top of the mountain, and enjoy the people of the city. Looking at the white clouds of Lufu, the mountains are blue, and the golden light is bright. It has the meaning of Bao Mingyuan's skyline...... In "Jinghu Knows the Old Banknotes", he is now persuaded to use his whole book, so that everyone in the world knows that he has a talent in the world, and he will be a poet with the rest of the things, and the sage is unpredictable. Lu Jialing commented at the end of the article: "If you are familiar with Meng Han's writings, you will know that there is a source for its learning. The above quotation and omitted content is to describe the virtue and politics of the Huang County Order during the tenure of Bei Jilin.
According to Xiong Shipeng's article, it can be seen that after Bei Jilin received the tribute, he participated in the court examination, obtained a higher level, and was elected as the Huangmei Sect. According to the records of "Genealogy of the Other Clan" and "Hubei Art and Literature Chronicles", Bei Jilin paid tribute in 1789 (the 54th year of Qianlong), so he should have served as the Huangmei Sect shortly thereafter, in the last years of Qianlong, and it is very likely that the starting time was 1789 or 1790. Gui Yuqiu thinks that "Huangmei Bamboo Branches" was written in the ninth year of Daoguang. The last years of Qianlong and the ninth year of Daoguang are about 40 years apart. The author believes that the ninth year of Daoguang was the preface and brewing publication time of "Asking Flowers and Water Pavilion Poems", and "Huangmei Bamboo Branches" was created in the last years of Qianlong when Bie Jilin served as Huangmei's instructor. In the second year of Guangxu Cha, the "Huangmei County Chronicles" volume 20 "Career Official Chronicles" recorded "Qianlong, Beiwenyu, Tianmen Tribute". This shows that Bei Jilin's instructor in Huangmei was in the Qianlong period, not the Daoguang period, and Xiong Shipeng's statement corroborates each other. This also proves that Bei Jilin became a tribute in the Qianlong period, not the Jiaqing period as mentioned in the "Hubei Poetry Expedition Biography".
It is a very meaningful discovery that Bei Jilin served as an instructor in Huangmei in the last years of Qianlong, which greatly pushed forward the formation time node of Huangmei Opera by 40 years, and corroborated with many historical legends of escaping water famine and the records of tea picking opera in the eighth year of Daoguang's "Susong County Chronicles". Bei Jilin said: "Yi likes to pick up the recent events in this county, echo the words, and sing tea picking songs. This shows that in the last years of Qianlong, the Huangmei opera script written according to Huangmei's people and events has appeared, and the development of Huangmei opera has entered the stage of three dozen and seven singing, marking a major development of Huangmei opera, it is no longer a simple folk song and dance, but Wang Guowei said that "singing and dancing stories" opera (not only one-man show, two small plays and three small plays). We can see from the repertoire of 36 major plays and 72 small plays of Huangmei Opera that are jointly circulated in Hubei, Jiangxi and Anhui that the classic scripts "Qu Xuefu Sues the Dam Fee" (including "Escaping the Water Famine", "Li Yi Selling Girls" and "Betting on the Official Shed") and so on are the real people and real stories of Huangmei County in the 29th year of Qianlong, and in the last years of Qianlong, scripts have appeared about them. If the formation of the main singing voice is accompanied by the emergence of a large number of unique classic original scripts, marking the formation of the drama genre, then Huangmei Opera has been officially born in the Qianlong period at the latest. In addition to "Qu Xuefu Sue the Dam Fee", in the traditional classic repertoire of Huangmei Opera, there are also "Zhang Chaozong Tells the Inheritance", "Song Guangyou Fights the Grain House", "Zhang Dehe", "Yu Laosi", "Mao Zicai", "Qing Official Book", "Little Qing Official", "Trouble in the Court", etc. The formation of Huangmei Opera is inseparable from the real people and real events of these Huangmei Opera, which constitute a sufficient and necessary condition for the formation of Huangmei Opera. In historical legends, it will be especially mentioned that in the 29th and 51st years of Qianlong, Hubei Huangmei was flooded, and countless artists wandered to Jiangxi and Anhui to spread the Huangmei opera. Lu Hongfei, Wang Changan and others believe that the Huangmei opera at this time was only a song and dance form of Huangmei tea picking minor tune and Huangmei tea song, and some scholars believe that at most it was only two small operas and three small operas, rather than the original drama with a script. Now, through the research of the creation time of Bie Jilin's "Huangmei Bamboo Branches" (it was three or four years after the flood occurred in the 51st year of Qianlong), it is confirmed that Huangmei Opera had been formed in the Qianlong period at the latest, that is, the so-called "recent events in this county, attached to the words" of the original drama has been produced in large quantities. During this period, under the historical conditions of the production of scripts based on Huangmei real people and real stories, the folk rap forms such as Huangmei tea and Huangmei Taoism were deeply integrated, marking the real establishment of Huangmei Opera as a drama (regarding Huangmei Taoism as another major source of Huangmei Opera, I have explained it in a separate work "The Origin of Huangmei Opera and the Relationship between Huangmei Taoism and Taoist Culture"). The historical conditions for Huangmei tea tune, Huangmei Taoism, and Huangmei real people and real stories at the same time are not available in counties and cities other than Huangmei in Hubei, which shows that the birth and wide dissemination of Huangmei Opera has a certain historical accident and inevitability, and it is reasonable that Anhui and Jiangxi did not produce Huangmei Opera on the basis of Anqing Minor, Tongcheng Song, Fengyang Song and Jiangxi Minor. According to the record of "Susong County Chronicles" in the eighth year of Daoguang: "After the beginning of winter in October, the upper mound increased the soil, and the pond weir began to be built. It is the month, the tree wheat has been finished, the agricultural work is resting, the newspaper competition is gradually rising, blowing the pig and beating the drum, close or mixed with new sounds, drowning in love and confusion, calling 'tea picking', the elders reprimand, but also the meaning of Zheng. It shows that after the formation of Huangmei Opera in Hubei Huangmei, from the end of Qianlong to the early years of Daoguang, it gradually spread to the subordinate counties of Anqing and became the local "new voice". It is a pity that because Anqing was a provincial city at that time, the feudal power was too large, and the "new voice" of Huangmei Opera was "rejected", which led to the long-term hindrance of the development of Huangmei Opera in Anqing. In the Qing Dynasty, because the southeast of Hubei and the northeast of Jiangxi were located in rural areas, the gentry and officials such as Bei Jilin and He Yuanbing were more enlightened, and told the world the prosperity of Huangmei Opera in the Qing Dynasty at the junction of Hubei and Jiangxi through the way of bamboo branches with an appreciative attitude. According to newspaper records, Huangmei Opera blossomed everywhere in various counties and cities in northern Jiangxi, and together with Hubei Huangmei Opera artists from Qianlong to the early years of the Republic of China, Huangmei Opera was introduced to Yangzhou, Wuhu, Shanghai, Hankou and other metropolises, becoming a new type of drama that was all the rage in theaters, while Ding Yongquan and others had been wandering outside Anqing for a long time, and even imprisoned and expelled until the 1950s, Anhui Huangmei Opera artists were able to turn over and come to the top under the attention of Guilinqi.
Huangmei opera was widely spread to the outside world after the origin and formation of Huangmei in Hubei. This assertion is also supported by the research results of scholars such as Wang Zhaoqian and Pan Hanming. Pan Hanming published "A Preliminary Study on the Relationship between the Vocal Tone of Huangmei Opera" in the second issue of "The Art of Huangmei Opera" in 1981, by comparing the traditional Huangmei Opera (that is, the officially named Huangmei Tea Opera in the 1950s) with the singing of Huangmei Opera introduced to Anhui Province, taking "Selling Groceries", "Fighting Pigweed", "Escaping the Water Shortage", "Shanbo Visiting Friends", "Tianxian Pei" and so on as examples, and finally concluded: "When Huangmei Opera was introduced to Anhui, it not only had the form of drama, but also developed from three small operas to a simple form of original opera. The current Huangmei opera voice is further developed on this basis. If Pan Hanming was only cautiously inferred, then Wang Zhaoqian made a bolder conclusion. In his "A Brief Discussion on the Influence of Qingyang Dialect on Huangmei Opera and Its Relatives and Its Relatives in the Art of Huangmei Opera" published in the second issue of "Huangmei Opera Art" in 1982, he said: "Like the stories of Cai Mingfeng, Zhang Dehe, and Yu Laosi, etc., this form is the original opera of tea-picking opera-flower drum opera...... In the early days, the repertoire of Huangmei opera directly transplanted from Qingyang dialect includes: "Tianxian Pei" ("Huaiyin Ji", "Shanbo Visiting Friends" ("Tongqing"), "Yunlouhui" ("Jade Hairpin Ji"), "Four Sisters Go to Earth" ("Money Tree"), "Selling Water", "Lotus Flower" ("Peony"), "Buying Rouge" ("Rouge Ji"), "Flower Pavilion Meeting" ("Pearl Ji"), "Peony Play", "Xiangzi Huazhai", "Wang Po Selling Chickens" ("Persuasion of Kindness"), "Borrowing Wife", "Lu Mengzheng Returning to the Kiln" ("Cailou Ji"), "Wang Taoist Demon Take" ("Changsheng Ji") and so on. In fact, before it was passed to Anqing, there was much more to it...... "Here, Wang Zhaoqian attributed dozens of traditional classic repertoire of Huangmei Opera to the tea-picking opera artists in eastern Hubei Province, which echoes Ding Yongquan's statement that Huangmei Opera "has 36 major books and 72 small plays" formed in Huangmei, Hubei (but it should only be a general statement, after all, "The Female Concubine" and other unique scripts in Anhui may be the contribution of old artists of Anhui Huangmei Opera). In Wang Zhaoqian's view, the early Huangmei opera in eastern Hubei was introduced to Anhui after completing the development stage of the original opera and accepting the influence of the Qingyang dialect. Of course, there is still controversy as to whether Huangmei Opera was indirectly influenced by the Qingyang dialect, which had been lost in the early Qing Dynasty, for example, Gui Yuqiu believes that Huangmei Opera was influenced by the high cavity of Hukou near Huangmei in Hubei, rather than the Qingyang dialect. As for the Yuexi high cavity that only appeared in the Jiaqing Daoguang period, it is nonsense as evidence that the Qingyang cavity influenced Huangmei Opera, after all, Huangmei Opera was formed much earlier than Yuexi Gaocao.
Bei Jilin's "Huangmei Bamboo Branches" not only tells us that Huangmei Opera was formed in the Qianlong period at the latest, but also tells us where Huangmei Opera sprouted and where the source of art is. "There are many rice grandchildren under the cloudy mountain, and the fish in the Taibai Lake are making waves", doesn't this mean that the Huangmei Opera comes from the cloudy mountains and the Taibai Lake? This coincides with the old artist's summary that the Huangmei tea tune comes from the cloudy Qiao song and the Taibai fishing song. As an instructor from other places, Bei Jilin may have listened to the old artists at that time, so he wrote the cloudy Qiao song and the Taibai fishing song into the poem as the artistic source of Huangmei Opera. The argument that Hubei Huangmei tea tunes include Fengyang songs, Tongcheng songs and Jiangxi minor tunes seems to be chasing the wind. Even if these foreign folk songs influenced the Huangmei tea tune, it was only a partial reference to the lyrics, and the singing tone must be derived from the Huangmei tune and Huangmei tone of the cloudy Qiao song and the Taibai fishing song, which is the so-called "all as the Huangmei County dialect". In addition, it should not be ignored that the small dramas of Huangmei Opera mainly come from Huangmei picking tea tunes, while the original dramas are mainly born from folk raps such as Huangmei Taoism. As for why it is named tea picking opera, and less called Huangmei Taoist love drama, it may be an accidental choice of Huangmei people at that time, or the result of the name of tea picking opera spread more widely at that time. Since Huangmei Opera was formed in Huangmei, Hubei, it must have been sung in history by using the "Huangmei dialect" of Huangmei dialect, and the reason why it was able to be introduced to northeast Jiangxi and southwest Anhui is precisely because the junction of these three provinces belongs to the Huangmei small piece of Huangmei in the Jianghuai dialect spoken by Zhao Yuanren. In today's vigorous promotion of Mandarin, opera should be made more understandable and close to the people, such as insisting on returning to the Qing Dynasty and the Republic of China to sing in dialects, I am afraid that it will lose a considerable number of listeners, and even become a reversal of history (the reason why it is difficult to become popular is precisely because the dialect is too heavy, and Huangmei opera artists have learned a lesson and have been vigorously promoting Mandarin, just with a little dialect charm that is common at the junction of Hubei, Jiangxi and Anhui provinces).
It can be said that in the last years of Qianlong, Bie Jilin's "Huangmei Bamboo Branches" proves that Huangmei Opera was formed in the Qianlong period at the latest, and He Yuanbing's "Tea Picking Song" in the Tongzhi period reflects the history of Huangmei Opera from Hubei Huangmei to Jiangxi. These two poems have become key historical materials for the study of the origin, formation and spread of Huangmei Opera, witnessing that Huangmei Opera was in the peak stage of prosperity in the Qing Dynasty, spread throughout many provinces, and then gradually shrank (today, it is mainly Anhui that attaches great importance to Huangmei Opera, but it no longer has the strength and talent advantage of expanding to many provinces like Huangmei in Hubei during the Qing Dynasty, and the historical fate of Huangmei Opera is worrying, about this, I will write another "The Realist Spirit of Traditional Huangmei Opera" It is analyzed and pointed out that the reason why the traditional Huangmei Opera has tenacious vitality is related to its rooting in the folk and full of upward growth power, while the modern Huangmei Opera in Anhui obviously lacks this spirit and strength, and some scholars in Anhui do not recognize Hubei Huangmei Opera as the source of Huangmei Opera, think that Huangmei Opera is not the successor of Huangmei Tea Opera, and do not know how to inherit the realist artistic tradition of Huangmei Opera to absorb the nutrition of Huangmei Opera's real people. The dispute over the origin of Huangmei Opera" mentioned in the article "The existing "prestige, status, and interest pattern", and proudly provoked the dispute over the origin of Huangmei Opera, I am afraid that it will be difficult to shoulder the heavy responsibility of revitalizing Huangmei Opera). Judging from the 240 poems of Bie Jilin's "Yanjing Yonggu" included in "Bamboo Branches of the Past Dynasties (Five)" (Shaanxi People's Publishing House, 2003 edition) and disclosed on the Internet by the people of the other clans, they are only poems written by Bei Jilin in the twentieth year of Jiaqing, and they are all bamboo branch words about "Yanjing allusions" taken from Zhu Yizun's "Old News under the Sun", not a complete collection of poems by Bei Jilin, and it is impossible to include "Huangmei Bamboo Branches" that has nothing to do with Beijing customs. Bei Jilin said in the preface of "Yanjing Yonggu": "The year Yihai needs the second capital gate, the guest is flawed, and the exhibition of Mr. Zhu Zhuyuan's "Old News under the Sun" is hard, and it is difficult to memorize it. If the predecessors sang about the bamboo branches, they did not dare to follow suit. Since it is mentioned that "the predecessors sang the bamboo branches", it shows that although Bei Jilin "did not dare to follow the example" to write "Beijing Bamboo Branches", he must be familiar with the style of "Bamboo Branches", and it is not surprising that he was able to create "Huangmei Bamboo Branches" for Huangmei County, where he served as an instructor. The fact that "Asking Flowers and Water Pavilion Poems" contains "Huangmei Bamboo Branches" proves that any preconceived doubts will eventually seem beyond their power in the face of ironclad evidence.
At this point, I can't help but highly respect and praise Mr. Gui Yuqiu, the discoverer of these two poems, otherwise the history of Huangmei Opera we see will be a chaos, which will inevitably allow some historical nihilists to take advantage of the void and make up the history of the origin and formation of Huangmei Opera in a grand manner, distort historical materials, and finally just laugh at the world.
Editor in charge: Zhang Yingchun
About the Author
Mei Jie, pen name Meimei, born in 1984, is a native of Huangmei, Hubei. He studies modern literature, children's literature, and local history. He is a visiting researcher at Hubei University and a member of the Chinese Writers Association. He has served as a re-judge of the Chen Bochui International Children's Literature Award, and won the titles of China's Good Editor (2014) and China's Rising Star of Publishing (2018). He is the author of "Rewriting the History of Chinese Children's Literature (Outline)", "Mr. Abolition Name", "The First Draft of Mei Guangdi's Yearbook", "Children's Books", "Feng Zikai's Notes: Pan-Children's Literature Notes", "The Missing in the History of Literature", "The Old Record of Literati's Feelings", "Huangmei's Literary Context", "Exploration of Modern Literary Historical Materials", "Langshan Notes", and the editor-in-chief of "Chinese Children's Literature Series", "Cao Wenxuan on Children's Literature", "Yu Xuelun Collection", "Mei Guangdi Wencun", "Xu Junyuan Wencun", "Feng Zikai Children's Literature Collection", "Lin Haiyin Children's Literature Collection" Deng Wenbin Collection", "Miscellaneous Notes of Qiqing Building", etc. He planned to publish large-scale book series such as "The Complete Works of Feng Zikai", "Chinese Children's Literature to the World" (multilingual edition), "Dolphin Academy" and so on.
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