Today, I will comb through the important writers and their works of the Qing Dynasty!
<h1 class="pgc-h-arrow-right" > Hu Tianyou</h1>
Hu Tianyou (1696-1758) was a Qing Dynasty writer and poet. The surname of the list is Fang, a qi, the word zhiwei, and the word yunzhi. A native of Shanyin (present-day Shaoxing), Zhejiang. In the first year of Qianlong's reign, the erudite Hongzi Section was just curious about popularity, and the poems he composed were often improvised and written in one go. Representative works include "Dafu Wenzhuang Temple Inscription", "The Order of the Famous Ministers of the SunGuo", "The Record of the Stone of Cauchy" and so on.
His works of "Jin Shu Xia Refutation" were well received by the world, and praise words such as "genius", "across the sea" and "crown of the national dynasty" abounded at that time. Yuan Ming, in the "Preface to the Hu Zhiwei Style", even used the "Prodigy of the World" Xu Zhi, believing that not only was the Qing Dynasty "unmistakable", but even if he was among the people of the Piao Wen since ancient times, he was not inferior at all.
Hu Tianyou's Piao Wen, whether it is refining words and making sentences, or plotting the layout of the article, all strive to avoid soft kitsch and pursue unique and strange shows, the most unique thing is that he integrates the tone and momentum of the ancient Chinese and Tang Dynasties into the creation of the Piao Wen, the Ao Yan Qi's unbridled and robust writing, as well as the strength of the vigor, the strong momentum of the majestic and strong, all of which give people a strong impression of "although it is even if it is rare and strange".
<h1 class="pgc-h-arrow-right" > wangzhong</h1>
Wang Zhong (1744-1794), also known as Rong Fu, was a native of Jiangdu (present-day Yangzhou, Jiangsu). A famous philosopher, writer and historian during the Qing Dynasty, he was an outstanding representative of the "Yangzhou School" along with Ruan Yuan and Jiao Xun. Before the age of thirty, he was able to write poetry and good literature, and he concentrated on scripture, and became friends with Wang Niansun and Liu Taigong.
Wang Zhong's Piao Wen, breaking through the four or six programs, is difficult to write, contains inexhaustible meanings, is beautiful and beautiful, uneven, deep feelings, long charm, and uses the canon to be exquisite and appropriate, which is the high grid of the Qing Dynasty Piao Wen Zhongxing.
Wang Zhong's writing is good at borrowing classics to describe the present and express the suffering and compassion of life, and Liu Taigong praised this in the "Biography of Wang Jun", praising his "stubborn sense of mourning and stubbornness, and deep sense of ambition". As a representative work of Wang Zhongbiao, "Self-Introduction" lists the "four sameness" and "five differences" through the comparison of his own life experience with the Southern Dynasty literary scholar Liu Xiaobiao. In the "four samenesses," the common tragedy of the "ancient and modern" scribes who learned to be rich in life and had high talents and fortunes fully reflected; then, through the comparison of the "five differences," they turned out new ideas. As the author said at the end: "Respect for the poor, filial piety is more cool than it; yu is filial piety, or not caught." In the ancient and modern "two-by-two comparison", the tone of the pen is suppressed and frustrated, and the writing is "Wu Gang Wanton", grateful and indignant, and it is full of shame and coldness. Wang Zhongbiao's other famous works, such as "Hanging Huang Zuwen", "Ode to the Thief of the Fox Father", "Hanging Horse Shou Zhen Wen of the Old Garden", etc., are all wonderful texts of this realm of "integrating similarities and differences, mixing ancient and modern, and not creating the same and different" (Chen Yinke's "Reading the Southern Fu of the Wai River").
<h1 class="pgc-h-arrow-right" > square bud</h1>
Fang Bao (1668-1749), character Fengjiu, character Linggao, number Wangxi. A native of Tongcheng (present-day Anhui). The theory of "righteous law" put forward by Fang Bao is called the most core theory of the later Tongcheng school prose.
Fang Bao demanded that the content and form of the article be unified, and his article "After the Harvest of Books and Goods" had a more detailed discussion of the "law of righteousness": "Righteousness, that is, the so-called 'words and things' of the Yi; the law, that is, the so-called 'orderly words' of the Yi. Righteousness is the scripture, and the Dharma is the text. He advocated that prose should be beneficial to world religion, people's hearts, political science and law, and advocated a halal and elegant style. His representative works such as "Zuo Zhongyi Gong Anecdotes", "Wan Jiye Tomb Table", "You Tan Zhao Ji" and so on, all belong to this kind of concise and elegant masterpiece.
<h1 class="pgc-h-arrow-right" > Liu Daxun</h1>
Liu Daxun (1698-1779), the character Caifu, the word Gengnan, the number Haifeng. A native of Tongcheng, Anhui. The prose he composed in his early years was greatly appreciated by Fang Bao. In the long-term creative practice, Liu Daxun developed the "law" in Fang Bao's "righteous law" theory, and put forward the theory of "seeking qi because of sound" in the "Occasional Record of Papers". In Liu Daxun's mind, "the divine qi is also the most refined of the text", so he advocated that the writing of prose should be based on "God as the mainstay, and the qi should be supplemented by qi", and as for the "divine qi" of the prose, it should be considered "obtained from syllables" and "syllables are obtained from words". Under the guidance of this concept of article, Liu Daxun's prose likes to be extravagant and contrasting, known for its rhetorical momentum, and has a really vivid style, and his works "Book Burning Discernment", "After the Book Jingke", "Sending Yao Ji to the South" and "Huangshan Chronicle" are all representative works of this style.
<h1 class="pgc-h-arrow-right" > Yao Nai</h1>
Yao Nai (1731-1815), the character Ji Chuan, a word dream, the room name Xi Baoxuan, known as Mr. Xi Bao. A native of Tongcheng, Anhui. He advocated the harmony of righteousness, examination, and articles, and at the same time took "divine smell" and "rhythmic sound and color" as the eight elements of the text, and did not abandon the "masculine beauty" and "feminine beauty", advocating that "those who are majestic and strong in the text must be more valuable than gentle and gentle" ("The Order of The Poetry of the Sea Fool"). Judging from its texts, such as "The Record of Mount Dengtai", "The Treatise of Wu Zixu", "The Eighty-Year Order of Mr. Liu Haifeng", "The Book of the Bachelor of Answering Weng", and "The Biography of Mr. Zhu Zhujun", many of them are concise and light, and the rhyme of Xu Xu is vague.
Yao Nai's own outstanding achievements in prose creation, coupled with his many appointments as shandong, Hunan and other provinces and township examination examiners and examination examiners, successively in charge of the meihua, Ziyang, Jingshi and Zhongshan and other academies for forty years, with his personal influence and compilation of the "Ancient Literature and Dictionary", really made the Tongcheng literary context open up and had a great impact on the whole country.
<h1 class="pgc-h-arrow-right" > qian qianyi</h1>
Qian Qianyi (1582-1664) was a Ming Dynasty jinshi who was highly regarded as one of the leaders of the Donglin Party. Although he served as the Rebbe Shangshu during the Southern Ming Dynasty, he was the first to surrender when the Qing army went south, and soon became the Rebbe Shangshu. Although Qian Qianyi was criticized for his character and integrity, he was quite creative in poetics. He stood in the forefront of liquidating the literary shortcomings of the Ming Dynasty, opposed the proposition of the seven sons of the Ming Dynasty that "poetry must flourish in the Tang Dynasty" and the deep and lonely poetic style of the Jinling Poetry School, advocated turning to many teachers and going in and out of the Tang and Song Dynasties, and from the perspective of supplementing history with poetry, praised the poetry of the relics of the Song Dynasty, and opened up the poetic fashion of learning from the Song Dynasty in the Qing Dynasty.
Qian Qianyi's poetic thought had a far-reaching influence in the Qing Dynasty, and the influential poetry collection compiled during the Kangxi Period, Wu Zhizhen and others' Selected Poems of Song and Gu Sili, continued Qian Qianyi's concept of admiring Song and Yuan poetry. Qian Qianyi wrote a wealth of works, in addition to poetry collections and historical works, he also compiled and selected the Ming Dynasty poetry collection "Poetry Collection of the Dynasties" and wrote a short biography of the poet. After the Qing Dynasty, he often expressed his feelings of remembrance of his homeland in his poems, and even secretly participated in the struggle against the Qing Dynasty and the restoration of the Ming Dynasty, such as planning for the Northern Expedition led by Zheng Chenggong Shunzhi in the sixteenth year (1659), so that in the Qianlong period, his poetry collection was listed as a banned book. Even so, Qian Qianyi's place in the history of poetry is still unquestionable.
<h1 class="pgc-h-arrow-right" > Wu Weiye</h1>
Wu Weiye (1609-1672), Zi Jungong, Meicun, Bei Shu Guan Yin Master, Taicang people, general history, good at poetry, knowledgeable and knowledgeable, together with Qian Qianyi, Gong Dingzi and called Jiang Zuo "three big people". He is the author of "Plum Village Collection", the opera has the legend "Moling Spring" and two miscellaneous dramas "Linchun Pavilion" and "Tsutendai".
In terms of poetic propositions, Wu Weiye took the Fa Sheng Tang, and at the same time taught the famous Tang poets Yuan Shu and Bai Juyi in the Tang Dynasty, who were good at using long songs to narrate current events, taking the major historical events of the Ming and Qing Dynasties as the background, showing social changes and life tragedies, because of the ups and downs, fascinating, appropriate use of canons, stable sound, colorful words, popular and fluent, popular, known as the plum village body. The masterpiece "Yuanyuan Qu" writes the story of Wu Sangui and his concubine Chen Yuanyuan in the context of the Qing army's entry into the Central Plains, condemning Wu Sangui, who lowered the Qing Dynasty and insulting the festival, and implicitly expressing his longing for his homeland. The "YuanyuanQu" has a deep rhyme and exquisite structure, and enjoys a very high reputation in Qing poetry, marking that ancient Chinese narrative poetry has reached a new height. The meicun style had a far-reaching influence on the poetry circles of the Qing Dynasty, and there were many admirers. Wu Weiye's poems were also loved by the Japanese, and were known as "the quasi-editors of poetry" (Fang Maoshi's "Records of Banana Xuan", quoting An Jixin's "Plum Village Poetry Banknote Sequence"), becoming a model for Japanese people to learn Chinese poetry.
"Moling Spring", also known as "Double Shadow", is 41 in 2 volumes, playing the love story of Xu Shi and Huang Zhanniang of the Southern Tang Dynasty after the fall of the Southern Tang. "Moling Spring" borrows the story of the Southern Tang Dynasty as a metaphor for the inner attachment to the old dynasty and the thought of mourning the homeland. In his early years, Wu Weiye was in trouble because of his involvement in the party struggle, and the Chongzhen Emperor personally broke the siege for him. In the play, Xu Shi, who is of southern Tang descent and is favored by Lord Li Hou, obviously conveys Wu Weiye's attachment to the king of the late Ming Dynasty. Wu Weiye saw Xia Wanchun's "Great Lamentation" written before his martyrdom, "Three days of great weeping, the legendary place of Moling Spring". At the same time, the author expressed gratitude to the "Holy Lord" Song Lord and the Love Talent in the New Dynasty Drama, "lowered the money of an unassuming scholar", appreciated Xu Shi's talent, promoted him to a champion, and conveyed Wu Weiye's ambivalence between old graces and new favors, fame and utilitarianism.
<h1 class="pgc-h-arrow-right" > Wang Shichen</h1>
Wang Shichen (1634-1711) was a poetic leader after Qian Qianyi, an official to the Shangshu of the Punishment Department. Yan Yu's Miao Wu theory put forward in "Canglang Poetry" was rejected by Qian Qianyi, but Wang Shichen, as a banner, put forward the Shen Yun theory, advocating that poetry be implicitly comforted and the style was diluted in a clear and far-reaching manner, in order to achieve the realm of exhaustion and infinite meaning. Wang Shichen's poetic style changed several times in his life, learning the seven sons of the Ming Dynasty in the early years, turning to Song poetry in middle age, triggering the Song poetry fashion, and returning to Tang poetry in his later years, but in his poetry, Shen Yun poetry style has always occupied an important position. In the era when Yidai lamentation songs dominated the mainstream, poetry creation mostly involved the theme of the rise and fall of the home country. The implicit euphemism of Shen Yun theory objectively conforms to the aesthetic needs of the rulers of the Qing Dynasty and reflects the requirements of the reconstruction of the cultural order of the new dynasty, so the Shen Yun theory is immediately popular after it is proposed. The selection and compilation of Wang Shichen's "Tang Xian's Three Tastes Collection" is a concentrated embodiment of the purpose of Shen Yun's theory and plays a role in fueling the waves.
<h1 class= "pgc-h-arrow-right" > Naranjande</h1>
Naran Zhide (1655-1685), Yehenara clan, character Rongruo, Langjiashan people, Manchurian Zhenghuangqi people, the early Qing Dynasty poets, the original name of Naran Chengde, once changed his name to Naran Zhide because of avoiding the prince Baocheng. The eldest son of a university scholar.
Naran's words are won by "true", the scene is realistic and conveyed, and the style of words is "beautiful and elegant, mournful and stubborn, high and far-reaching, and unique". He is the author of "Tongzhitang Collection", "Side Hat Collection", "Drinking Water Words" and so on.
He put forward his own theoretical propositions in the controversial poetry circle: "Poetry is the voice of the heart, and the temperament is a matter", emphasizing that there is no formality in the genre and the expression of personality. There are 348 existing poems (342 poems) of Naran's sexual virtues, involving love and friendship, border plugs in Jiangnan, the history of Yongwu Yong and miscellaneous feelings, etc., writing about water and Heyouduo, although he has experienced as an author, his number of lyrics is not much, and his vision is not very broad, but because of the poetry and love, and Naran's temperament is a very temperamental person, so his lyrics are excellent, and Zhou Yi praised him as "the first word hand of the beginning of the country" in "Hui Feng Words".
"Nalan Ci" not only enjoyed a high reputation in the Qing Dynasty lexicon, but also occupied a glorious place in the entire history of Chinese literature. Looking at the style of Naran's character, he is fresh and beautiful, and his mourning is stubborn, which is quite close to the Southern Tang Dynasty. And he himself also admired Li Yu very much, he once said: "The words between the flowers are like ancient jade, valuable but not applicable; the Song words are applicable but less valuable, and Li Hou lord has both beauty and is even more confusing." In addition, his words were also influenced by the "Flower Collection" and Yan Jidao. "Nalan Ci" produced a sensational effect of "family singing" before Nalan Rongruo's death, and was later known as "the first word of the Manchu Qing Dynasty" and "the first scholar". The Qing scholars all spoke highly of him. In the Republic of China, Nalan was still a very famous example of the early death of a talented son.
<h1 class="pgc-h-arrow-right" > Gu Taiqing</h1>
Gu Taiqing (1799-1876) was the most famous Manchu female writer in the Qing Dynasty. She is good at poetry, lyrics, music and painting, and she is known as "the first female lyricist of the Qing Dynasty" with words as the best. Representative works include "Wave Taosha", "Bu Toad Palace , Self-titled Painting Fan "Phoenix , Begonia " and so on. Most of Gu Taiqing's surviving works were written in the post-marriage period when he returned to Beijing, and the subject matter is not broad, such as seasonality, travel, inscription painting, and chant. In her later years, she wrote the novel "Dream shadow of the Red Chamber" under the title of "Outer History of Yuncha", and became the first female novelist in the history of Chinese novels. His literary insight is extraordinary, so the Eight Banners argument has the words "Male Cheng Rongruo (Naran SexDe) and Female Middle School Taiqingchun (Gu Taiqing)".
<h1 class="pgc-h-arrow-right" > Hong Sheng and the Hall of Eternal Life</h1>
Hong Sheng (1645-1704), also known as Fang Si (昉思), or As Barnyard Village, also known as Nanping Qiao (南平樵者), was a native of Qiantang (present-day Hangzhou), Zhejiang. Hong Sheng is famous for his poetry, his poems are superb and idle, not falling into the ordinary world, and his poetry collection includes "Barnyard Collection". In the early years, there were plays such as "Agarwood Pavilion" and "Tapestry" that were well-known, "Between the walls of the flag pavilion, when they heard the double beard and recited it, so that children and women did not know that there was Mr. Hong". After that, he immersed himself for more than ten years, changed his manuscript three times, and finally completed the emperor's monumental work "The Hall of Eternal Life" at the age of 44 in the twenty-seventh year of Kangxi.
The Hall of Eternal Life consists of 2 volumes and 50 titles. The drama takes the love of Tang Xuanzong and Yang Guifei as the main line. Emperor Xuanzong of Tang, Li Longji, who was the founder of the Kaiyuan Dynasty, favored Yang Yuhuan in his later years, made him a noble concubine, and appointed his brother Yang Guozhong as his chancellor, resulting in increasing corruption in state politics. In the inner circle, Tang Xuanzong sent a message of affection, gave Yang Yuhuan a golden nobile and a tin box, and on the night of the Tanabata, he secretly swore an oath to the two stars of the cowherd and the weaver girl, wishing to be married in the next life. In the outer dynasty, Yang Guozhong's monopoly on smuggling led to An Lushan's army attacking Chang'an, and Tang Xuanzong fled with Yang Yuhuan to Ma Songpo, where his generals mutinied, killed Yang Guozhong, and forced Emperor Xuanzong to kill Yang Yuhuan. After that, Emperor Xuanzong passed the throne to Emperor Suzong, and Emperor Suzong ordered Guo Ziyi to lead troops to quell the rebellion at Mount AnLu, retake Chang'an, and welcome Emperor Xuanzong back to the palace. Emperor Xuanzong thought of the noble concubine at night, and sent the Daoist priest Yang Tongyou to the Yellow Spring to find the soul of the noble concubine. At the end of the play, the two meet in the Moon Palace on the night of the Mid-Autumn Festival, and they will live in the Heavenly Palace forever.
Hong Sheng believes that the creation of opera focuses on romance, and his original intention in creating this drama is undoubtedly to write "love". Hong Sheng composed "The Hall of Eternal Life", based on Bai Juyi's "Long Hate Song", Chen Hong's "Long Hate Song Biography", Bai Pu's "Wutong Rain" and "Kaiyuan Tianbao Relic", and also borrowed the poems, words, songs, and palaces of the poems, words, songs, and notes of the love affairs of Li and Yang in the past dynasties, and found new meanings from the old themes, which is a summary work of the stories of Li Longji and Yang Yuhuan. Overall, "The Hall of Eternal Life" reproduces the process of the Tang Dynasty's transformation from prosperity to decline, expressing the sense of disillusionment of "extravagant people's hearts and poor people's desires, and disasters follow" and the author's ancient metaphors and present's humorous thoughts, happiness and sorrow, and vows to the next life.
The Hall of Eternal Life not only has a profound and rich historical connotation, but also has superb artistic attainments, and the text and music are highly praised. In terms of character shaping, the protagonist Tang Xuanzong's love and infatuation, with a sentence "May this life be old, Baiyun does not envy the immortal land", so that the merry son jumped on the paper. The secret vow of Li and Yang to "wish to be a husband and wife in all lifetimes and never be separated" has also become a classic scene in the history of opera literature. In terms of structural arrangement, this drama takes the love tragedy of Li and Yang as the main story line of the whole play, and the "Chaos of An Shi" as the narrative sub-line. Li and Yang love to "plutonium" and "box" as a metaphor, throughout, with the progress of the plot, the box is divided from the combination, from the points and together, not only so that the plot of the whole play has an intrinsic connection, but also reflects the protagonist's tragic and happy fate changes. In terms of language style, "The Hall of Eternal Life" is good at using the famous chapters and sentences of Li, Du, Yuan and Bai, and the lyrics are smooth and clear, full of poetry.
Hong Sheng is good at blending into the scene, vividly conveying the inner emotions and psychological activities of the characters, and at the same time being full of personality and action. In terms of musical rhythm, "The Hall of Eternal Life" has also achieved extraordinary achievements and has always been appreciated by composers. In terms of song cards and rhymes, Hong Sheng has truly achieved good lyrics and rhythms, and the literary and vocal feelings are both rich.
After the advent of "The Hall of Eternal Life", it was a sensation, and the hook bar was staged. "For a while, Zhu Men Qi Sat, the wine society song building, not this song is not played, and the head is wrapped to increase the price." Wang Yingkui's "Essays on Liu Nan" also records that this drama has also been listened to by the heavens and has been praised. Later, due to the "disaster of performing the Hall of Eternal Life" during the Empress Festival, Hong Sheng was imprisoned and dismissed from the Guozi prison. Although he was finally released, his life was extremely bumpy. In his later years, he returned to Qiantang and lived in the Lonely Mountain Barnyard Grass Hall. In the twenty-fourth year of the Kangxi Dynasty, a friend invited him to drink, and after getting drunk, he fell into the water and died. The people at that time sighed and said, "Poor Song Immortal Hall, ruin the merit to the white head." ”
<h1 class="pgc-h-arrow-right" > Kong Shangren and Peach Blossom Fan</h1>
Kong Shangren (1648-1718), zirenzhi, dongtang, other name shore hall, self-titled Yunting Shanren, Shandong Qufu people, Confucius 64th grandson. Surviving poems include "Shimen Mountain Collection", "Lake and Sea Collection", "Long Stay Collection", "Enjoying The Golden Book", "RenRuiLu" and so on.
Kong Shangren has not yet come out, and he has the idea of creating "Peach Blossom Fan", which is said to be a friend who knows that "I have the legend of "Peach Blossom Fan", and I am still in the pillow of secrets. At that time, only its outline was painted, and it was not decorated with algae. In the thirty-eighth year of the Kangxi Dynasty (1699), when Kong Shangren was fifty-two years old, the "Peach Blossom Fan" was drafted three times over more than ten years, which caused a sensation in the government and the public, "the prince recommended the gentry, did not borrow money, and sometimes had the reputation of paper preciousness", and even alarmed the Kangxi Emperor, "He died in autumn, and the internal servant "Peach Blossom Fan" was very anxious", and could not wait to see its appearance.
"Peach Blossom Fan" is a historical drama based on historical facts. Set against the backdrop of the turbulent times at the end of the Ming Dynasty, this drama borrows the love story of The Fushe scholar Hou Fangyu and the famous prostitute Li Xiangjun of Qinhuai as a clue to reveal the reasons for the rise and fall of the Ming Dynasty foundation and the Hongguang Small Imperial Court sitting on the "land of gold powder of the Six Dynasties".
Although "Peach Blossom Fan" takes the love story as the main line, it reflects the broader social reality at the time of the change of dynasties. The portrayal of the characters in "Peach Blossom Fan" is extremely powerful, breaking through the traditional division of absolute "loyalty" and "adultery". In the autumn of life and death, Zhu Yousong only cared about the "dignity of the Son of Heaven" and "the worship of sound and color", regardless of the duties of the monarch. Ma Shiying and Ruan Dacheng supported King Fu and only sought their own wealth and disregarded the safety of the society. As a positive image that has always been praised and affirmed, although Zuo Liangyu was infinitely loyal to the Chongzhen Emperor, he was arrogant and arrogant, lacked strategy, and rashly swung his troops to the east.
The images of several small characters created by the drama "Peach Blossom Fan" are extremely plump. The heroine Li Xiangjun is one of the most glorious female figures. She is trapped in the Qinglou, in the lower class of society, but brave and loyal, and does not let her eyebrows be raised. On her wedding night with Hou Fangyu, when she learned that the makeup came from Ruan Dacheng, she resolutely pulled out her hair and undressed, reprimanding Hou Fangyu for not distinguishing between right and wrong. She refused the threat of remarriage, hit her head against the Cuilou, and splashed the poetry fan with blood, making the peach blossom fan a witness to love and the rise and fall of the country. In addition, artists Liu Jingting and Su Kunsheng are also prominent and dazzling classic images in the play. These people belong to the promotion of excellence and lowliness, which are despised by the people in the crown, but they care about state affairs, distinguish between right and wrong, and have an independent and noble personality. Liu Jingting took the storytelling as his profession, did not do anything to the magnates, was good at righteousness, and bravely threw himself into the book, so that Zuo Liangyu, who had a heavy army and a violent temperament, was impressed. Su Kunsheng revisited Nanjing after the ming dynasty, extremely desolate, preferring to go into hiding rather than be a citizen of the new dynasty.
"Peach Blossom Fan" has flourished on the stage since its inception. When people said that "Chang'an's performance of "Peach Blossom Fan", the years have no vain days". On the fifteenth day of the first month of the year after the completion of the manuscript, Du Yushi Li Nan general xian bought the "Golden Bucket Class" to rehearse "Peach Blossom Fan". In mid-March, Kong Shangren was suddenly deposed. The reasons for the dismissal have always been controversial, and some studies believe that the dismissal is not related to the creation of "Peach Blossom Fan", and it has not affected the popularity of "Peach Blossom Fan" in qing dynasty performances.
<h1 class="pgc-h-arrow-right" > Li Yu and Suzhou Pie</h1>
Li Yu (1616—1677?) ), the character Xuan Yu, later changed to Yuan Yu because of the avoidance of Kangxi, the number Sumen Xiaoluo, the owner of Ichikasa Nunnery, a native of Wu County, Jiangnan, Li Yu is the representative and backbone of the "Suzhou School" group of playwrights. Li Yu is both talented and skillful, concentrating on music, and has a large number of plays, including more than thirty kinds of legends, and more than ten kinds of existing ones today.
Li Yu's early works, with the depiction of human feelings as the main content, are the most famous are "One, Man, Forever, and Zhan", that is, the four works of "A Bunch of Snow", "Man and Beast Guan", "Eternal Reunion" and "Zhan Hua Kui" in the "Four Songs of Yi Kasa-an", all of which were created before the Ming Dynasty. The famous work "A Bunch of Snow" writes the story of Yan Shifan and Mo Huaigu competing for an ancient jade cup, and the plot is born out of the anecdote that Yan Song framed others for the "Qingming River Map" when Yan Song was in power, as recorded in Shen Defu's "Compilation and Supplement to Wanliye". The drama "Man and Beast Guan" is based on Feng Menglong's "Confession of The Poor Way outside the GuiYuan" in Feng Menglong's "Cautionary Tales", depicting the story of the ungrateful wugui family and finally being punished. "Eternal Reunion" plays the story of Jiang Na who is poor and loves the rich, Jiang Na and the Cai family climb up, the Cai family turns his face and repents when he falls, and later Cai Zi tries to marry the second daughter of the Jiang family by coincidence. "Zhan Hua Kui" plays Feng Menglong's "Awakening the World Hengyan" of "Selling Oil Lang Monopoly Hua Kui", singing the pure love between Qin Zhong, who sells oil Lang, and Xin Yaoqin, the lady of Hua Kui. These four legends reflect the human condition of the lower strata of society, commend the morally noble among the lowly, and ridicule and lash out at the despicable acts of mercenary and ungratefulness.
After entering the Qing Dynasty, Li Yu's works more obviously tended to be the creative intention of "that is, the song on the spot shouted laughter and scolding, in order to illustrate the purpose of the subtle". He made good friends with Qian Qianyi, Wu Weiye and other celebrities, and under the influence of their remnants' thinking, he paid more attention to the affairs of the government and the military state, and compiled many historical plays with sustenance and allegory. The most famous is "Qian Zhongjie", also known as "Qian zhonglu", which plays the story of Zhu Di, the king of Yan, who seized the throne by force in the early Ming Dynasty, and Emperor Jianwen and his courtier Cheng Ji disguised themselves as monks and exiled to the southwest, praising a group of loyal and righteous soldiers such as Fang Xiaoru and Cheng Ji. Another of Li Yu's famous works, "Qing Zhongpu", is also from the historical facts of the late Ming Dynasty. During the Ming Dynasty's apocalypse, the eunuch Wei Zhongxian sent Wei Ti to Suzhou to arrest the Donglin Party member Zhou Shunchang, and the citizen Yan Peiwei and others gathered more than 10,000 people to petition the government to demand the release of Zhou Shunchang, and finally generously accepted righteousness. This incident caused a great sensation, and the "Qing Zhongpu" was created with this incident as the background. The author dares to choose realistic themes, close to life, and also pays attention to the diversification of themes. At the same time, he grew up in the performance center, familiar with the stage, understand the audience's appreciation requirements, and as a result, his plays are widely popular and often performed.
The "Suzhou Faction" was not a fixed group at that time, nor did it have centralized and regular activities. They naturally gathered because of their similar identities and similar interests, judging the rhythm and writing the script. Li Yu's "Qing Zhongzhi Spectrum", Bi Wei, Ye Shizhang, and Zhu Suchen participated in the creation together. Zhu Suchen also collaborated with Li Yu to compile the "Northern Word Guangzheng Spectrum". Zhu Suchen and Zhu Zuochao brothers co-authored The Four Wonders. Zhu Zuochao co-authored "Buried Wheel Pavilion" with Li Yu and "Xuanyuan Mirror" with Zhu Yuncong. Ye Shizhang, Qiu Yuan and other four people co-authored the "Four Great Celebrations" and so on.
The playwrights of the Suzhou school have experienced great changes in the Yi Dynasty, witnessed the mourning, and most of them have no intention of becoming officials, but send love songs. They have the idea of saving the world's customs, punishing evil and promoting good, and because they have insight into the world's conditions and understand the sufferings of the people, they can cut to the point and reflect the social reality. They are good at using historical themes to describe major social events and political struggles, reflecting the demands and aspirations of the people, and the lyrics naturally carry an impassioned atmosphere.
An important feature of the "Suzhou school" playwrights is that they are good at shaping small characters. In their works, the net and ugly as supporting characters are mostly portrayed as more personal and more outstanding and vivid than the protagonists Sheng and Dan. The reason is that most of them are familiar with stage performances, understand and pay attention to the tastes of citizens watching plays, do not fill in the lyrics for self-entertainment, but provide scripts for performances, pay attention to stage requirements and performance effects, thus changing the traditional concept of opera with lyrics as the core. They put the structure of opera in an important position, using the musical method of the north and south to enhance the expressiveness of art, the lyrics are simple, and the characters are popular. The Suzhou school broke the convention of taking Sheng Dan as the protagonist, and created a number of classic images in the roles of net and ugly, and thus showed a stage effect that was both real and humorous. Their legendary works are suitable for performance and are widely welcomed, so they have a great role in promoting the legendary creation in the late Ming and early Qing dynasties.
<h1 class="pgc-h-arrow-right" > Li Yu</h1>
Li Yu (1611-1680) was an opera prodigy of the Qing Dynasty. Originally named Xianluo, the character Who Fan, the number of the Heavenly Disciple, later changed to the name of Yu, the character Kasa Hong, the number of Kasa Weng, ancestral home of Lanxi, Zhejiang, born in Rugao, Jiangsu. In the seventh year of Shunzhi (1650), Li Yu moved to Hangzhou with his family and made a living selling literature. Since his childhood, he has often watched the scene and heard the sound of strings and orchestras. Popular works such as novels and operas can be profitable and stimulate Li Yu's desire to create. The two legends of "Pity Xiang Companion" and "Kite Mistake" are the works of Migration for a long time, and Li Yu's fame and fame began. He has written ten kinds of legends: "Pity Xiang Companion", "Kite Mistake", "Yi Zhongyuan", "Mirage Building", "Jade Scratching Head", "Nai Ho Tian", "Flounder", "Qiao Reunion", "Huang Qiu Feng", "Shen Luan Jiao", etc., and jointly published as "Ten Kinds of Songs of Kasa Weng", of which "Kite Mistake" is the most famous. The creation of opera has indeed brought him great economic benefits and reputation. These ten kinds of scripts are "noisy and heavy flag pavilions", and they are good at it for a while.
Li Yujiu bears the name of a talented son, has a high artistic appreciation, heavy machine interest, and seeks cutting-edge innovation. The purpose of his creation is very clear: "Yantian subsistence, originally not angry and wrote books, the pen is full of heart, bandits whisper to satirize the world." This is very different from the literati at that time who were keen on making music, or used it to pour blocks in the chest, or to show their splendid talents. Taking profit as the motivation determines that Li Yu's creation must cater to the needs of readers and audiences. Its legendary multi-performance talent and beauty encounter story, good at using misunderstandings and coincidences to organize the plot, vivid eye, novel structure, binbai popular and funny, vivid and lively, in line with the identity of the character, easy to perform, so it is widely spread on the stage. Li Yu is also quite accomplished in the theory of opera. In his "Casual Love and Occasional Mail", the "Song and Song Department", the "Exercise Department" and the "Sound and Appearance Department" all expound the understanding and propositions of creation and performance.
<h1 class= "pgc-h-arrow-right" > "Awakening Marriage"</h1>
The Tale of the Awakening Marriage (also known as the Tale of the Marriage of the Evil Marriage) was written a hundred times in the eighteenth year of Shunzhi (1661). The author Xi Zhousheng, whose real name is unknown, has pu Songling, Ding Yaokang, Jia Kaixi and so on, but it is difficult to determine. The novel inherits "Jin Ping Mei", which centers on the daily life of family couples, extends to a wide range of social environments, and has profound social content. Although the novel takes the marriage between the two generations as the plot framework and uses karma to explain the character and character relationship, the specific description is mainly realistic, the language is vivid and natural, and it is extremely personal and shandong local.
< h1 class= "pgc-h-arrow-right" > "Continuing Golden Plum"</h1>
Sixty-four times, published in the sixteenth year of Shunzhi (1659). The author Ding Yaokang (1599-1669), zi xisheng, trumpet wild crane, Ziyang Daoist, Muji Daoist, Shandong Zhucheng people. Born as a eunuch, he was less talented than a young eunuch, and failed to take the exam many times during the Ming Dynasty, and after entering the Qing Dynasty, he served as a teacher in Rongcheng and Hui'an Zhi County. He has written a wealth of works, including ten volumes of "Ding YeHe Poetry Copy", one volume of "Chronicle of the Robbery", one volume of "Instructions for Home Economics", ten volumes of "History of Heaven", etc., and six kinds of legends include "West Lake Fan", "Human Tour", and "Snake Bile".
The storyline of "Continuing the Golden Bottle Plum" continues after "The Golden Bottle Plum", with the war and chaos in the last years of the Northern Song Dynasty as the background, writing the story of Ximen Qing, Li Zhen'er, Hua Zixuan, Pan Jinlian, Pang Chunmei, Chen Economic and other reincarnations, entangled in evil retribution. The novel quotes the teachings of The Three Teachings of Buddhism, Taoism, and Confucianism, and takes the "Induction Chapter" as its destination, with the intention of exhorting the good and punishing the evil. The novel's depiction of the Jin people going south and the fall of the Northern Song Dynasty is obviously related to the author's painful experience of experiencing the turmoil of the Ming, Qing, and Yi dynasties. In the third year of the Kangxi Dynasty (1664), the "Continuation of the Golden Bottle plum" was banned by people who were issued with "illegal language". Shortly thereafter, Shibashi deleted the text describing the Song-Jin War in the book, changed the names of the characters, and reduced them to forty-eight times, and changed the title to "Shadow of the Curtain Flower" and published. In the fourth year of the Republic of China (1915), the "Golden House Dream" serialized in the newspaper sixty times was also an abridged version of "Continuing the Golden Plum Bottle".
<h1 class= "pgc-h-arrow-right" > Pu Songling and "Liaozhai Zhiyi"</h1>
Pu Songling (1640-1715), also known as LiuXian (留仙), a jianchen (一字 jianchen), nicknamed Liuquan , was a native of Zichuan , Shandong ( now part of Zibo City ) . Pu Songling's "Liaozhai Zizhi" said: "Talent is not dry treasure, Ya loves to search for gods; love Huangzhou, happy people talk about ghosts." If you smell it, you will write it, and then you will write it. For a long time, the four parties sent each other in a postbox, so that things were gathered together and the accumulation was beneficial. "It can be seen that the story has a wide range of sources. He wrote this collection of short stories around the age of forty, and has been revising and adding to it ever since. During Pu Songling's lifetime, the book was circulated only in the form of manuscripts, and although some manuscripts were greatly appreciated by Wang Shichen and others, the first edition was not engraved until fifty years after Pu's death. There are three categories of manuscripts, manuscripts and periodicals.
From a stylistic point of view, there are both Wei and Jin Six Dynasties Zhi Weird body that records ghost rumors, and there is also a legendary body with a narrative and a long-distance sustenance, which can best represent the artistic achievements of "Liaozhai Zhiyi". Most of these legends take the flower demon fox as the protagonist, especially the love story of the flower demon and the person is the most moving, showing the sincere emotions that transcend the boundaries between life and death, people and things, fox ghosts can be reincarnated as human beings, and people can also be transformed into things. In "Lotus Incense", Lian Xiang is a fox, Li Is a ghost, a fox and a ghost colleague Sang Sheng, and has been reborn successively.
Although "Chatting with Zai Zhiyi" talks about foxes and ghosts, the illusory plot contains rich realistic content. Narrated in words, concise and subtle, swaying and colorful, longer than lyrical scenes, it helps to create a poetic mood.
<h1 class="pgc-h-arrow-right" > Wu Jingzi and the History of Ru Linwai</h1>
Wu Jingzi (1701-1754), zi minxuan, trumpet grain people, Anhui quanjiao people. Wu Jingzigong's poetry and good text, in addition to the "History of Ru lin", there are still twelve volumes of "Wenmu Shanfang Collection", four volumes of which are now preserved, collecting poems and literary endowments before the age of forty; the seven volumes of the "Poetry Classic" research monograph "Wenmu Shanfang Poetry", which have long been lost, have reappeared in recent years. The "History of Ru Linwai" was completed between the thirteenth year of Qianlong (1748) and fifteen years (1750), and the manuscript was circulated among friends in the form of a manuscript, and it was not until the thirty-third year (1768) of Qianlong after Wu Jingzi's death that it was engraved in the world. The original engraving is not visible, and the earliest surviving version is the fifty-sixth edition of the Jiaqing Eighty-Year (1803) Woxian Caotang Ben.
Fifty-six times in the book, the book depicts the different manifestations of various types of people for "fame and wealth" with realism, on the one hand, it truly reveals the process and reasons for the corrosion of human nature, so as to profoundly criticize and ridicule the corruption of the officials at that time, the hypocrisy of the maladministration of the imperial examination, etc.; on the other hand, it enthusiastically praises the protection of human nature made by a small number of characters in the way of insisting on themselves, thus conveying the author's ideals. The use of the vernacular of the novel has become more sophisticated, and the portrayal of the character is also quite in-depth and delicate, especially the use of superb satire, making the book a masterpiece of classical Chinese satire.
The Outer History of Ru Lin represents the peak of the ancient Chinese satirical novel, and it creates an example of direct evaluation of real life by fiction. After the manuscript of the "History of Ru Linwai" was handed down, and the posterity was highly evaluated, Lu Xun believed that the ideological content of the book "upholds the public heart and criticizes the shortcomings of the times", and Hu Shi believes that its artistic characteristics can be called "Seiko refining". In the international sinology community, the book is quite influential, early In English, French, German, Russian, Japanese, Spanish and other languages have been handed down, and has been praised by the Sinology community, some believe that the "History of Rulin" is enough to rank among the masterpieces of world literature, can be compared with the works of Boccaccio, Cervantes, Balzac or Dickens and others, is an outstanding contribution to world literature.
The History of Ru lin is deeply influenced by historical literature in terms of artistic techniques. This influence is mainly manifested in two aspects: one is the way of structure, and the other is the way of narrative. From a structural point of view, "the whole book has no trunk, only drives various characters, ranks and columns, and things arise from it, and they also go to it, although the cloud is long, quite short." From the perspective of narrative mode, "The History of Ru LinWaishi" has changed the narrative of traditional novels, adopted the objective narrative method common in historical legends, and tried not to directly evaluate the characters, but only let the facts and characters speak in words and deeds.
< h1 class="pgc-h-arrow-right" > "Dream of the Red Chamber"</h1>
There is more than one author of the one hundred and twenty copies of "Dream of the Red Chamber". The author of the first eighty times is Cao Xueqin, and the author of the last forty times is someone else. The editors of the one hundred and twenty times of the book were Cheng Weiyuan and Gao Hu.
"Dream of the Red Chamber" takes the rich and noble family of Jia Fu and the clan of Shi Li Miao as the background, and takes the tragedy of jia baoyu's love marriage with Lin Daiyu and Xue Baochao as the central plot, and at the same time describes the tragic fate of a group of young women.
"Dream of the Red Chamber" is the pinnacle of the art of ancient Chinese novels, and the ancient novels before it and after it have not reached and exceeded its level. Lu Xun praised: "Since the "Dream of the Red Chamber" came out, the traditional thinking and writing methods have been broken. "The great artistic achievement of "Dream of the Red Chamber" is first manifested in the fact that it constructs a realistic art space through a full range of network structure and flexible and free perspective scheduling.
"Dream of the Red Chamber" can depict the true face of life, but also because it uses the objective narrative technique of the third-person limited knowledge perspective. The overview of "Dream of the Red Chamber" is not personally presented by the author, but entrusted to the characters in the book, borrowing the eyes and mouths of the characters to describe the environment, explain the background and introduce the characters. "Dream of the Red Chamber" skillfully uses the objective narrative technique of limited knowledge, breaking through the tradition of omniscient and all-powerful narrative of storytellers, and the repeated narration of an object from multiple angles by different narrators further changes the traditional single narrative method and enriches the narrative art of ancient novels.
The great achievements in the art of "Dream of the Red Chamber" are also manifested in the shaping of characters. "Dream of the Red Chamber" is a biography of the boudoir, the most depicted is women, and mainly writes about a group of girls who are very similar or similar in age, living environment, lifestyle and so on. Cao Xueqin can not only write their personalities with extraordinary clarity, but also carve out some subtle features that are more similar and different in personalities.
In terms of the performance of character language, "Dream of the Red Chamber" is another highest model of China's classical novels after "Water Margin". "Dream of the Red Chamber" is based on the northern colloquial language, and is concise, natural and expressive. In addition, although "Dream of the Red Chamber" follows the writing tradition of ancient novels, there are more poems, words, songs, and poems interspersed in the narrative. However, these rhymes can be integrated with the characters and plots, without any unnecessary defects, but successfully assist in the shaping of the character image, such as Daiyu's "Funeral Flower Words", "Autumn Window Wind and Rain" and "Willow Words", at the same time, these poems also indicate the development of the plot, symbolizing the fate of the characters, such as the fifth "Jinling Twelve Chaos" main volume, the second book, and the judgment in the sub-book, and the "Twelve Songs of the Dream of the Red Chamber" performed by the police fairy, etc., can not be skipped or read.
"Dream of the Red Chamber" is a love novel with world influence, the pinnacle of classical Chinese novels recognized by the world, the encyclopedia of China's feudal society, and the master of traditional culture. The novel encourages itself with "talking about love in a big way and recording its own facts", only according to its own physical reasoning, following the trail, getting rid of the old set, fresh and unique, and achieving extraordinary artistic achievements. The special penmanship of "the real thing is hidden, the false language of the village dialect" has opened the minds of future generations of readers, and the speculation has been many for a long time. Since the twentieth century, due to the exceptionally outstanding artistic achievements and rich and profound ideological background of "Dream of the Red Chamber", the academic community has produced a special study with "Dream of the Red Chamber" as the research object - Red Studies.