Ming legendary historical dramas have their significant characteristics whether compared with the historical dramas of the Yuan, Ming, and Qing dynasties, or with the historical dramas of the Song and Ming dynasties, or even compared with the historical dramas of the Qing legends. Some of the Ming legendary historical dramas involve major historical events, qushi qujiao has obvious intentions, the historical figures that appear in the ming legendary historical dramas are generally more, the historical content contained is rich, many plots have historical basis, and the tendency to honor the history is obvious, in addition, the love drama in the Ming legendary historical drama is more mixed and the reunion ending mode is also worth noting. Comparatively speaking, the historical capacity of miscellaneous drama historical dramas is limited, many miscellaneous drama historical dramas are biased towards freehand, there are fewer historical narrative components, the deviation between southern opera historical dramas and historical facts is relatively large, and the spirit of the times revealed by Qing legendary historical dramas and Ming legendary historical dramas is generally different. These characteristics of the Ming legendary historical drama are not only related to the large proportion of literati writers, high cultivation and depth, but also related to the historical factors of the times, which is analyzed and elaborated in this article.
First, many plays show important historical content
Some of the Historical Dramas of the Ming Dynasty directly express historical events, and although some are presented in the form of dramas such as love dramas, the historical and political content of the plays is obviously prominent. List its main players:
Liang Chenyu's "Huan Sha Ji" is set in the Spring and Autumn Period when Wu Yue competed for hegemony, and through the Yue Dynasty's grand master Fan Li presented the beauty of the west to the King of Wu, showing the rise and fall of Wu Yue. Although the anonymous "Inverted Huan Sha" rewrote the plot and character ending of "Huan Sha Ji", the content still revolved around Wu Yue.
Zhang Fengyi's "Book of Tiger Runes" focuses on the deeds of Hua Yun, one of the twenty-four generals in Huaixi, writing about Hua Yun's death at the end of the Yuan Dynasty and the beginning of the Ming Dynasty, and the destruction of the city, and the drama involves the conquest between the two major groups of Zhu Yuanzhang and Chen Youyi. Zhang Fengyi's "Record of Stealing Symbols" writes that the Duke of Wei, Xin Lingjun, stole the soldier's charm through Princess Ruji of Wei, and led the Wei army to break the Siege of the State of Zhao by the Qin Army, involving the intricate relationship between the warring states and the various states. Zhang Fengyi's "Record of Irrigation Garden" writes that Tian Fazhang, the son of the Qi state, fled to become a servant of the irrigation garden, and the drama involved Yan killing Le Yi to kill the King of Qi, and the Qi general Tian Dan greatly breaking the Yan army to restore the Qi state to welcome the legislative chapter as the king of Qi; later Feng Menglong adapted this play into "New Irrigation Garden", although the specific plot has changed, but the historical events are the same.
Zhang Siwei's "Tale of the Two Spirits" tells the story of Han Shizhong and Liang Hongyu, involving the song and Jin wars in the early Southern Song Dynasty, and Han Shizhong leading troops to resist Jin. Chen Youjiao's "Qilin Jiao" is an adaptation of Zhang Siwei's "Double Spirits", and the main historical content of the play is the same.
Tu Long's "Cai Hao Ji" plays Li Baishi, and through Li Bai's experience in entering the court, he draws into many important historical contents such as the political events of the Tang Dynasty court with Tang Xuanzong and Yang Guifei as the central figures, the Anshi Rebellion, and the Yongwang Li Xuan's army. Wu Shimei's "The Book of Surprise" plays the story of Tang Ming Emperor and Yang Guifei and Mei Fei, although Mei Fei is a shadow character, and Mei Fei is out of note novels and folklore, but the important historical events of the Tang Xuanzong era involved in the play are especially the anshi chaos that shows the Tang Dynasty from prosperity to decline.
Lu Shilin's "Tale of the Two Phoenixes" plays the song Zhao Fan and Zhao Kui brothers who killed Li Quanli, and the drama involves the death of the Southern Song Dynasty rebel Li Quan after he surrendered to Mongolia and failed to attack the Song.
Niu Ge's "Grinding Dust Book" is a drama structure within a play, which is also related to the history of Han and Tang, not only many historical events between Tang Xuanzong, including historical events such as the Anshi Rebellion, but also through the play-within-a-play, the Eastern Han Dynasty Dou Wu, Chen Fan, Fan Huan and other eunuchs Cao Jie and Wang Fu were framed.
She Qiao's "Record of The Magnitude river" and Feng Menglong's revised "Record of the Measuring River" both play the southern Tang Fan Ruoshui defected to the Song Dynasty during the Five Dynasties and Ten Kingdoms to measure the width of the Yangtze River to help the Song Dynasty cross the river to conquer the war, involving the historical events of the Northern Song Dynasty destroying the Southern Tang.
Zhu Ding's "Record of the Jade Mirror Platform" plays the love and deeds of Wen Yao during the Eastern Jin Dynasty, involving historical events such as the Northern Expedition of Liu Kun, the Great Breaking of Shile, and the Pacification of Wang Dun's Rebellion.
Ye Liangbiao's "Book of Cents" plays the friendship between Guan Zhong and Bao Shuya, and the drama involves the princes of the State of Qi vying to become the monarch of the country in the Spring and Autumn Period, and Guan Zhong assists Qi Huan in the public hegemony.
Bu Shichen's "Holly Record" plays the Southern Song Dynasty Lin Jingxi loyal to the Southern Song Dynasty, after the Yuan soldiers attacked Lin'an, the Yuan Dynasty Jiangnan Shijiao President Yang Lian Zhenjia excavated qiantang and Shaoxing's Southern Song Dynasty imperial tombs, stole treasures and abandoned bones in the wild, Lin Jingxi and others went to collect the emperor's bones, buried near Lanting, transplanted the imperial tomb holly tree as a symbol, and the drama involved the tragic history of the southern Song Dynasty.
Feng Menglong's "Restaurant Maid" plays the struggle between li gu, li xie father and son of the eastern han dynasty and the traitor liang ji, and the drama involves the court struggle of the eastern Han Dynasty and the dictatorship of Liang Ji. Feng Menglong's "Jingzhong Banner" plays Yue Fei Jingzhong's loyalty to the country, tragically framed to death, and later rehabilitated Zhaoxue, involving the Southern Song Dynasty Yue Fei's unjust case and the Song Jinhe war.
Wang Tingne's "Heavenly Secretary (Re-ordered)" plays the story of Sun Bin being framed by Pang Juan during the Warring States and finally taking revenge on Xue, involving the Qi-Wei rivalry and the famous Battle of Maling during the Warring States. Wang Tingne's "Record of Righteous Martyrs" plays the struggle between Zhang Jian, Fan Huan, Chen Fan, Dou Wu and other loyal ministers at the end of the Eastern Han Dynasty and The eunuchs and traitors such as Hou Shan, Cao Jie, and Dong Zhuo, and involves the chaos of the eunuchs of the Eastern Han Dynasty and the disaster of the party.
Qiu Ruiwu's "Records of Luck" interprets the life deeds of Tao Kan in the Eastern Jin Dynasty, writing about the rebellion of Chen Min, Du Tao, Wang Dun, Su Jun, etc., Tao Kan's army to serve the king, quell the rebellion, support the crisis, and drama the historical facts after the fall of the north to the jin dynasty and the southern crossing.
Meng claimed that Shun's "Erxu Ji" plays wu zixu's death of Chu and Shen Baoxu's fuchu in the Spring and Autumn Period, and the drama involves the struggle between Wu and Chu and the relationship between the wu-Chu and Qin states in the Spring and Autumn Period.
Zou Yuqing's "Qinghong Xiao" plays Cao Cao's killing of the Han Xiandi Empress Fu family and dong guifei's family affairs, involving Cao Cao's monopoly on coercion of Emperor Xian and other historical events at the end of the Han Dynasty.
Fan Shiyan's "Mo Zhongji" plays the story of Wei Zhongxian's eventual downfall, involving the struggle between the late Ming Donglin party and Wei Zhongxian's castration party.
Zhu Jiujing "Cliff Mountain Lie" played Wen Tianxiang and Lu Xiufu jointly resisted the Yuan, Wen Tianxiang was captured, always unyielding and killed, after the Yuan soldiers broke the cliff mountain, Lu Xiufu drove his wife into the sea first, and then the Young Emperor threw himself into the sea to die, involving the historical events of the Yuan soldiers invading the south and the southern Song Dynasty falling.
Ji Zhenlun's "Seven Victories" plays Zhuge Liang's Southern Expedition to Meng, Seven Captures and Seven Indulgences, involving the relationship between Wei and Shu during the Three Kingdoms period and the relationship between the Shu Han regime and the minority regime.
Pu Junqing's "Record of Yuntai" plays Liu Xiujian Yuntai, listing the names of meritorious heroes on the stage, and the drama involves the history of Liu Xiu's cutting of Wang Mang and reviving the Han Dynasty.
Qing Xiaosheng's "Happy Spring" plays the current events at the end of the Ming Dynasty, writing about the struggle between Mao Shilong and Wei Zhongxian, involving the loyal and traitorous struggle between Yang Lian, Mao Shilong and others and Wei Zhongxian's castrated party in the late Ming Dynasty, and the war between the Ming Dynasty and the Later Jin.
The anonymous "Ming Feng Ji" plays the story of Yang Jisheng, Zou Yinglong and other "eight courtiers" fighting against Yan Song's father and son, and the drama involves the political struggle of the Ming Jiajing Dynasty. The anonymous "Eight Righteous Records" plays the story of the orphans of the Zhao clan, and the drama involves the almost extermination of the Zhao Dun family during the Spring and Autumn Period of the Jin Linggong. The anonymous "Red Pine Record" plays the story of Zhang Liang MuXian of the Western Han Dynasty, involving the Chu-Han rivalry, and Zhang Liang assists Liu Bang in seizing the world. The anonymous "Herong Ji" plays the story of Wang Zhaojun going to the Xiongnu and his relatives, and the drama involves the Western Han Dynasty and the Xiongnu and their relatives.
There are also some historical figure story dramas in the Ming legend, which also involve more or less historical events.
Second, many plays convey the intentions of Qu Shi Qu
Zhu Jiujing's "Yashan Lie" shows the tragic history of the Southern Song Dynasty before and after Yashan was attacked by the Yuan army, "the title is right, the foot is in line with the purpose of persuasion and punishment", "the praise and loyalty of the shrine as a end, especially the hall of dignity and integrity" (Xu Yingliu,"The Legend of Yashan Lie· Preface") [1]1378. When the Yuan soldiers attacked the cliff mountain, Zhang Shijie was killed in battle, Lu Xiufu threw himself into the sea with the little emperor on his back, and Wen Tianxiang was captured and unyielding, all of them heroically sacrificed their lives. The Yuan army soldiers approached the cliff mountain, and Zhang Hongfan, the commander of the Yuan army, summoned Zhang Shijie of the Southern Song Dynasty several times, but Zhang Shijie refused to surrender. "Hongfan de Shijie's nephew Han, ordained as an official, made three to recruit, Shijie lily counted the ancient loyal ministers: 'I know that I descend, born and rich, but I will not move my ears when I die for the Lord.'" (Vol. 451, "Zhongyi Liechuan VI Zhang Shijie Biography")[2] After the defeat in 10315, Zhang Shijie drowned at the foot of Pingzhang Mountain. Lu Xiufu took the emperor to the sea, and the whole family died, and in February of the sixteenth year of the Yuan Dynasty (1279), the cliff mountain was broken, "Xiufudu could not be taken off, and the sword of the staff drove his wife into the sea, that is, the negative king went to the sea to die, and the year was forty-four" (vol. 451, "The Biography of Lu Xiufu of Zhongyi Liechuan") [2] 10316. After Wen Tianxiang was captured, he refused to surrender to the Yuanren, "calmly and calmly, and died as if he were returning home" and "died by worshiping in the south" (vol. 418, "The Biography of Wen Tianxiang"[2], 9823. "Cliff Mountain Lie" has a real performance of this history, in the face of the dangerous situation at that time, "the war will be weak and the army will be small, and the code will be empty and the city will be thin", Wen Tianxiang, Lu Xiufu, Zhang Shijie and others have tried their best to support it, "Today's matter, gather troops and order generals, in an attempt to fight a battle against the water." Victory is the blessing of the society, and defeat is the death of the country. This is a matter for Shi Jie, and if you abandon this other map, you will only find a piece of the dead ear on the ground of Zhao and Song Dynasties" [3] Photocopied the 10th fold of the old manuscript Zhang Shijie. "On the life of the gang (program) often must be fully manipulated, the East Sea is difficult to follow." Thousands of autumns are righteous, and the ancient qing is famous. Hugh looked down on the small pomp and circumstance, all were loyal and filial piety"[3] Photocopied the 29th fold of the old manuscript [Qingjiang Introduction], Wen Tianxiang, Zhang Shijie, Lu Xiufu, etc. were all martyrs of the country, and their deeds were brilliant.
Bu Shichen's "Holly" is also a true history of the Yuan Dynasty when the Southern Song Dynasty was destroyed, playing Tang Jue and others to protect the bones of the Southern Song Emperor. This incident is found in Luo Youkai's "Biography of Tang Yishi", and Yuan Tao Zongyi transcribed it in the "Nancun Cultivation Record". The Nancun Shu Geng Lu records the discovery of the "Biography of Tang Yishi": "Mr. Wuxing Wang Jun'an (Guoqi), Shi Yu's collection of "Tang Yishi Biography". Reading it, I don't feel that it makes people cry, and I record it. The "Biography" says: "Xin Haiqiu, the friend Duan Shu Ni Jun, crossed the YuXi, showed you Hangzhou Miscellaneous, and there was a hidden matter of Tang Yu. Yu Read, startled, and suddenly stood up: "Strange! There is this man in this world, and there is this thing. Tell me more. [4]43 It can be seen from here that both Luo Youkai and Tao Zongyi were deeply moved after learning about the deeds of Tang Jue and other righteous soldiers. Bu Shichen was also shocked by the theft and excavation of the Southern Song Dynasty Emperor's tomb and the deeds of Tang Jue and other righteous soldiers, and carefully created the legend of "Holly". On the occasion of the yuan dynasty's destruction of the Southern Song Dynasty, Yang Lianzhenjia, the western Xia monk who was the president of the Southern Song Dynasty's Jiangnan Shijiao, stole the tombs of the emperors of the Southern Song Dynasty, stole the treasures in the tombs, and abandoned the bones among the grass mangs, And Tang Jue, Lin Jingxi, Yuan Jie and others risked death to use the bones of the emperors to be prosthetic bones, buried in the Lanting Pavilion, and then moved the holly trees in the palace to plant them as a symbol. Later, Yang Lian Zhenjia took false bones, mixed with cattle and horses, and built a white pagoda in the Lin'an Forbidden City to press it, named "Zhen Ben", to show the meaning of the people of Jiangnan. The author of "Holly" expressed the humiliating history of the southern Song Dynasty when it fell with a deep heart, "by virtue of the king listening to holly old things, full of wet shirts"[3] photocopied the next poem of the first "Unveiling" of the Ming Periodical, "The Hatred of the Bloody Remnants Turned Deeper"[3] Photocopied the 33rd "Juyi" [Epilogue], "When it comes to the truth of love, the ape smells also breaks the intestines"[3] Photocopied the 35th "Sacrifice Tomb" [Nanjiang Ershui], "Tu Hou Shang Seals the South Crossing Bone, Twilight Cloud Sorrow Locks The Grass Qianqian"[3] Photocopied the 35th "Sacrifice Tomb" of the Ming Periodical"[3] Photocopied the 35th "Sacrifice Tomb" The next poem. "Tang pedantic poor soldiers are loyal, and Lin Shangshe is a hero. Yang and the monk Weregasa were punished, and Yuan Zhizhong was given a son-in-law. [3] The photocopied Ming Dynasty's first "Unveiling" next poem "Holly" expresses the author's clear position of love and hatred by praising Tang Jue, Lin Jingxi, and Yuan Jie's loyal deeds, and condemning Yang Lian's evil deeds. Lü Tiancheng's "Qu Pin" commented that the play was "tragic and fierce" and "the scene was real", and quoted his friend Zhang Wanghou as saying: "With Li Tuxian's handsome family in the Mid-Autumn Festival, it is better than the Tiger Qiu QianrenShi to stage this, and the spectators are tens of thousands, and many people cry." [5] 125-126 It can be seen here that the author Bu Shichen's intentions in the history of the music have gained strong resonance among critics and audiences.
Fan Shiyan's "Mo Zhongji" depicts the loyal and treacherous struggle between the Donglin party members of the late Ming Dynasty and the eunuch party of Wei Zhongxian, involving important historical events during the apocalypse and Chongzhen years. In the "History of Ming", Wei Zhongxian originally reported that Wei Zhongxian and Keshi were in cahoots with each other, and they were deeply favored by Emperor Mingxi, and their power was tilted toward the opposition, "Keshi was obscene and cruel." Zhongxian does not know the book, quite strong memory, guessing and forbearing, good. The emperor deeply trusted these two men, and the two of them were strong, and used Si Lilin Wang Tiqian and Li Yongzhen, Shi Yuanya, Tu Wenfu, etc. as wings, and the palace people did not dare to be afraid" (vol. 305, "The Biography of The Eunuch Liechuan II. Wei Zhongxian") [6]5232-5233. In the fourth year of the Apocalypse (1624), Wei Dang's minions slandered Zuo Guangdou and Wei Dazhong, Yang Lian was indignant, and played Wei Zhongxian's crime, Wei Zhongxian went to Xizong to defend himself, and attacked Yang Lian and others, Xizong did not distinguish between good and evil, deposed and reprimanded Yang Lian and others, and Donglin and Wei castrated the two sides to fight for life and death:
The vice-governor, Yushi Yang Lian, was indignant and impeached Zhongxian for twenty-four major crimes. Sparse, loyal and fearful, to solve Han. No, so he wept before the emperor and resigned from the East Factory, while keshi was dissected from the side, and the body was dry and so on. The emperor was confused. Therefore, Wen Wen left the loyal sages, and the next day he was evacuated, and he was strictly responsible. More than seventy people, including Lian Jiexiu, Wei Dazhong and Chen Liangxun and Xu Yuqing, Zhu Guobi, marquis of Funing, Chen Daoheng, Shangshu of the Nanjing Bingbu, and Yue Yuansheng, the attendant, handed over the chapter on loyalty and lawlessness. Ask the High and Rebbe Shangshu Weng Zhengchun to send Zhongxian back to the private place to slander, and do not allow it.
When it was, the loyalists were indignant and wanted to kill the dissidents... For a while, dozens of people, including Zhao Nanxing, Zuo Du Yushi Gao Panlong, Chen Yuting, Yang Lian, Zuo Guangdou, and Wei Dazhong, who were officials, had already expelled Han and Li Banghua, the military attendant. When people go to the country, they are vibrating... (Wei Zhongxian's minions) do their best to enter those who are not loyal to the sages, and they are called the Donglin Party members, dedicated to the loyal sages. Zhongxian was pleased, so the group of Xiaoyi begged for favors and attacked Donglinyi with his arms. (Vol. 305, The Biography of The Eunuch Liechuan II. Wei Zhongxian)[6]5234
During the reign of Emperor Xizong's apocalypse, "at this time, the internal and external power was returned to Zhongxian" (vol. 305, "The Biography of The Eunuch Liechuan II. Wei Zhongxian")[6]5236, Fan Shiyan, out of righteous indignation, expressed this brutal struggle process through the Mo Zhongji. Fan Shiyan's "Self-Introduction" said: "When he tasted the father and elder of Lizhong, and talked about Wei Supervisor, he was like trying to eat his flesh... How can it be exhaustive of the evils of the faithful and the wise? However, in order to make the village husband and wife of the world, Bai Shu Huang Tong see what happened, and scolded the loyal sage with great pain, so as to show his holiness more and more. [1] 1359-1360 Commentators said: "It is a compilation, like the Wei Supervisor's actual record, even if there is a decoration in between, before and after to take care of each other, nothing more than a common expression of the world's public indignation." If it falls out, it will feel that the context is not related, and the actor should not look at it as ordinary. (Anon
Qing Xiaosheng's "Happy Spring" and Fan Shiyan's "Mo Zhongji" both belong to the Wei drama, and also show the struggle between Yang Lian, Mao Shilong, and others in the late Ming Dynasty and Wei Zhongxian's castration party, and the drama skills are derived from the "Biography of Mao Shilong", "The Biography of Wei Zhongxian", "The Biography of Yang Lian", "The Biography of Wei Dazhong", "The Biography of Zhou Zongjian", "The Biography of Cui Chengxiu", "The Benji of Xizong", "The Benji of Zhuang Lie" and so on. Mao Shilong and Yang Lian are the same way, "Yang Lian went to the country, (Mao Shilong) resisted evacuation and asked to stay." The Apocalypse changed Yuan Zhengyue's discussion on the 'Three Cases', and forcefully said that Sun Shenxing, Lu Menglong, Lu Dashou, He Shijin, Ma Defeng, Wang Zhiyuan, Yang Lian, and other meritorious sheji" (vol. 246, "The Biography of Mao Shilong") [6] 4267. Mao Shilong repeatedly opposed Wei Zhongxian (formerly known as Wei Jinzhong), and Wei Zhongxian and his henchmen tried their best to frame him, "after entering the zhongxian, he changed his name to Zhongxian, showed that he had stolen the power of the country, hated Shi Longwei", and "Emperor Zhuanglie took the throne, and Zhongxian was ambushed." The courtiers were wronged by shilong and forgave his sins. Shi Long began to teach Xie En, and Chen was trapped. Emperor Mercy, ordered the reinstated officials to zhishi, but did not summon them" (vol. 246, "The Biography of Mao Shilong") [6], 4268. Qing Xiaosheng's "Happy Spring" praises Yang Lian and Mao Shilong, and lashs Out at Wei Zhongxian and Cui Chengxiu, "Wei Zhongxian, who steals the power of the dynasty, is as fierce as a jackal, and Cui Chengxiu, who is beautiful and erect, is a dog eagle." Yang Duxian of the upper chapter of The Sun Mingfeng, the anti-slanderous Mao Shi Xianglin" [3] Photocopied the next poem of the first "Theses" in the last edition of the Ming Dynasty, and the intention of Qu ShiQu teaching is very distinct.
Wang Tingne's "Record of Righteous Martyrs" plays "The Eastern Han Dynasty Party Gong Matter, Zhang Shanyang died, and Kong Clan died in a gate, Gao Yi Thin Cloud Sky, spread the spirit through the golden stone." Yu Youwu summarized it as a legend. There are famous teachings in drama, and it is not accidental that it has also been. There are many documentaries in the play, and this "Book of Han" is listed in the biography" (Xue Yinghe", "Preface to the Record of Righteous Martyrs") [1]1280. "The Book of Righteous Martyrs" is based on history into the song, taught by the name of the song, and the heart of the history of teaching is obvious. Huan Yu Xian's "Qilin Chronicle" plays Confucius's life and life experience, Confucius's era, "When the time came to the end of the Zhou Ping, the heavenly king was weak and weak, and the Qi Qin, Jin, and Chu were strong. Who let Kai kai come and continue the past", "This record is a great manifestation of the Sacred Tao, there is a relationship with the world religion"[3] Photocopied Ming Magazine No. 1 [Xi Jiang Yue] and Bin Bai. Through the interpretation of Confucius's deeds, "The Book of Qilin" shows Confucius's academic and cultural contributions, carries out Confucian thought indoctrination, and has an obvious purpose of historical indoctrination.
Third, it contains rich historical content
Compared with the historical dramas in the Miscellaneous Dramas of the Yuan, Ming, and Qing Dynasties, there are generally more historical figures in the historical dramas of the Ming Legends; compared with the historical dramas in the Song and Yuan Dynasties, modern Peking Opera and local dramas, the historical character story dramas in the Ming Legends have a great correlation with history. Generally speaking, there are more historical components and historical elements in the historical drama of the Ming Legend, and the historical content contained in the play is relatively rich.
Song Yuannan's play "Zhuo's Female Mandarin Duck Society" has been written, writing Zhuo Wenjun and Sima Xiangru story, from the title of the play, it should be written about the love between the two. In the Yuan miscellaneous drama, Guan Hanqing and Qu Zijing both have "Shengxian Bridge Is Like an Inscription Pillar", both of which have been written, and from the perspective of the title of the play, there should be content that Sima Xiangru seeks to take the name of merit. Yuan Mingjian miscellaneous dramas also include Fan Juzhong's co-authored "Stork Qiu" (已佚) and Tang Shunmin's "Wind and Snow RuiXian Pavilion" (已佚). The stories of Sima Xiangru and Zhuo Wenjun can be found in the Western Jin Dynasty Chang Xuan's Huayang Guozhi Volume III Shu Zhi, the Eastern Jin Dynasty Ge Hong's Xijing Miscellaneous Records Volume II "Xiang Ru Death Thirst", Volume III "Bai Tou Yin", the Later Jin Dynasty Li Han's "Mengqiu" volume, Song Zengxi's "Class Theory" volume 28 quoted "Strange Tales , Xiang Ru Picks the Piano". Later, the script "Fengyue Ruixian Pavilion" (included in Ming Hong's "Qingping Shantang Dialect Book") also performed the stories of Sima Xiangru and Zhuo Wenjun, and there were explanations of Sima Xiangru at the gate of King Xiao of Liang in the capital, and Zou Yang and Mei Gao as friends, and in addition, there were wang Ji, Yang Deyi, emperors, emperor envoys and other figures, adding Sima Xiangru's narrative of opening the Nanyi provinces in Bashu, but on the whole, the historical components of the script were not much. The main stories of Sima Xiangru and Zhuo Wenjun in the Ming legend are: Sun Yu's "Record of the Heart of the Qin", Han Shanggui's "Record of Ling yun", Chen Yutou's "Feng Qiu Phoenix", in addition to Wu Dexiu's "Book of Stealing Peaches", Sima Xiangru also appears, and these plays have surviving copies. In the Xijing Miscellaneous Records, volume 2, "Xiang Xiang is like death and thirst", and volume 3, "Bai Tou Yin", only Sima Xiangru and Zhuo Wenjun have their love marriage, and the text "Wind and Moon RuiXian Pavilion" adds the content of Sima Xiangru being summoned because of the "Zi Xuan Fu", the favor of the "Shanglin Fu", and the worship of Zhonglang General as the "Shu Of the Shu Shu". Several Sima Xiang in the Ming legend are similar to story dramas, and the drama contains more historical personnel than notes and novels. Sun Yu's "Record of the Heart of the Qin" added the role of Tang Meng and Sima Xiangru as Empress Chen's "Nagato Fu". The 25th "Traitors And Wrong countries", the 28th "Zhao'an Desperate Domain", the 30th "Tang Mengshi Trap", the 32nd "Xiang Xiang Shu Shu", the 35th "Weeping in Prison", the 36th "Tingwei Redress", the 39th "Nagato Wangyue", the 41st "ZhaoJin Buy fu" and so on[3] are all additional historical contents. Han Shanggui's "Records of Lingyun" added two characters from Gongsun Wei and Yang Sheng's liangxiao palace, and showed Sima Xiangru's encounters in the liangxiao palace, and Tang Meng and Empress Chen also rendered and performed like Sun Yu's "Record of the QinXin". The 2nd "Liangyuan Fuxue" of the Book of Lingyun, the 13th "Fu song Lingyun", the 14th "Nagato Buy fu", the 18th "Oath of Hearing Chaos", and the 19th "Fengzhao Shu" [3] Photocopied manuscripts are all more concentrated in historical content. Chen Yutou's "Phoenix Seeking Phoenix" is also similar to the situation of Sun and Han, and the historical content in the play has increased compared with the notes and novels.
Tang Xianzu's "Zi Ji" and "Zi Chao Ji" are based on the Tang legend Jiang Fang's "Biography of Huo Xiaoyu", and there are only a few historical figures involved in "Huo Xiaoyu Biography", Li Yi and Wei Xiaqing have biographies in the history books, Cui Yunming's history books are not contained, the novel says that they are Li Yizhong's table, "Zi Ji" has added a lot of historical personnel, and the historical personnel in "Zi Xiao Yu" is also more than "Huo Xiaoyu Biography". The historical figures who appear in the "Purple Book" are: Li Yi, Hua Zhending (the name of the play Hua Qing Zi Jingding), Shi Xiong, Tang Xianzong Li Chun, Guo Guifei, Yan Zunmei, Du Huangsheng, Hao Jue (the name of hao wei in the play), Yan Chao, Du Qiuniang, Wulu Zanxinya (that is, Shang Shu, the name of Shang Zi bi in the play), Chi Zu Dezan (alias Chi Re Ba Jian, the New Book of Tang and the Old Book of Tang as Ke Li KeZu, that is, Yi Tai Zanpu in the play) ZanPu, Shang Qi Xin'er (named Shang Qixin in the play); the historical figures reduced in the "Purple Book" are: Wei Xiaqing and Cui Yunming. In addition, in the "Biography of Huo Xiaoyu", King Huo is deceased, and in "The Book of Purple Flutes", King Huo is alive and appears, and the play arranges him as the son of Tang Shunzong and the uncle of Tang Xianzong; the character of Guo Feng guo Xiaohou is also added to the "Purple Book", and he is arranged as the grandson of Guo Ziyi and the brother of Guo Guifei. It should be noted that there was no Huo Wang in the tang Xianzong era when Li Yihuo Xiaoyu's story took place, and the Huo Wang referred to in the Biography of Huo Xiaoyu and the Zi Zhen Ji did not really exist in history. Although Huo Wang and Guo Feng are not real historical figures, they are both images created by the historical model. Through the addition of historical figures, many historic contents have been added to the "Purple Book", and Li Yi's line from the army is related to the military politics of the northwest of the Tang Dynasty and the relationship between the Tang Dynasty and Tubo, and these historical events are not found in the "Biography of Huo Xiaoyu". The historical figures who appear in Tang Xianzu's "Purple Book" are Li Yi, Wei Xiaqing, Cui Yunming, and Liu Ji (the name of the play is Liu Gongji), and Liu Ji is a historical figure that is not found in the original novel added to the play. Through the plot of Li Yi's service to the northwest of the army and serving under Liu Ji, the "Purple Book" adds the historical content of the Middle and Tang Dynasties.
The meta-drama Guan Hanqing's "Jade Mirror Platform" mainly writes the love story of Wen Zhao in the Eastern Jin Dynasty, and although the Ming legend Zhu Ding's "Jade Mirror Platform" writes the same theme, the historical characters and historical content in the play are greatly increased compared with Guan Hanqing's works. Guan Hanqing's "Jade Mirror Platform" has no other historical figures except Wen Jiao, let alone any historical content, Zhu Ding's "Record of the Jade Mirror Platform" appears Wen Jiao, Liu Kun, Zu Ti, Guo Pu, Wang Dun, Shi Le, Wang Han and many other historical figures, adding important historical content such as Wen Jiao's assistance to Zu Ti Liu Kun's Northern Expedition, the Great Breaking of Shi Le, and the defeat of Wang Dun's rebellion, the 9th "Shi Le Rising Army", the 10th "Wang Dun Lost", the 12th "New Pavilion Runny Nose", the 13th "Smelling Chicken Dancing", the 14th "Shi Le Calling the King", the 19th "Shi Le Calling the King" and the 19th " Crossing the River to Strike the Dragon", the 21st "Burning Rhinoceros", the 23rd "Shile Defeat", the 26th "Wang Dun Anti", the 28th "Striking", the 29th "Danyang Bingbao", the 35th "Defeated Wang Han", the 36th "Capture Wang Dun", the 39th "Victory of the North and South", etc.[3] Photocopied Ji guge periodicals are all contents with strong historical and political significance.
Fourth, many plot contents have historical basis
Stylistically speaking, the historical drama of the Ming legend is literature is drama rather than history, so every historical drama has fiction and content that is inconsistent with history, but compared with the historical character story dramas in the Yuan, Ming, and Qing miscellaneous dramas and song yuanming southern dramas, the historical dramas in the Ming legends are generally less distant from the historical records, and the tendency to respect the historical record is obvious.
The 6th "Commission official Chengtian" in huanyu Xianshenggong's "Records of the Qilin Dynasty" writes that Confucius served as a small official in the state of Lu to manage the grain fields and raise livestock, that is, based on the "Records of History": "Confucius was poor and lowly. And long, taste for the history of the Ji clan, the amount of material is flat; taste for the clerk and livestock rest. (Vol. 47" "Confucius Family") [7] 1540 The 14th "Qi Jing Qing Zheng" wrote that Qi Jinggong asked Confucius about the government, Qi Jinggong was first happy to absorb Confucius's strategy, and then by yan bao's opinion and rejected Confucius, Confucius returned to Lu in a panic, this plot can also be found in the "History":
Jing Gong asked Confucius, and Confucius said, "Emperor, subject, father, son." Jing Gong said, "Zenya! Faith is like a king who is not a king, a subject who is not a subject, a father who is not a father, a son who is not a son, and though there is millet, I will eat it! He asked Confucius again one day, and Confucius said: "Politics is saving money." Jing Gong said that he would want to seal Confucius with Nissuda. Yan Baojin said: "The husband and the Confucian are funny and undeserving of the law; they are arrogant and self-obedient, and they cannot be subordinate; they cannot mourn and mourn, and they cannot be buried in bankruptcy; they cannot be vulgar; they cannot lobby and beg for loans, and they cannot be the country." Since the breath of the great sages, the Zhou Chamber has declined, and the Li le is lacking. Today, Confucius is full of ornaments, the ceremonies of the descending, the festivals of detail, and the generations cannot learn from them, and they cannot investigate their etiquette in those years. The king wants to use it to move the customs, so he does not first refine the people. Hou Jinggong respected Confucius and did not ask him about his courtesy. Another day, Jing Gong stopped Confucius and said, "Fengzi is of the Ji clan, but I can't." "Stay between Ji Meng. Dr. Qi wanted to harm Confucius, and Confucius heard about it. Jing Gong said, "My old man, I can use it." "Confucius went along, against Lu. (Vol. 47, The Family of Confucius)[7], 1541
"From the distant inheritance of the master to the Eastern Qi, the father and son of the monarch can be known." Qi did not meet Xi and returned to the female music, And Yan Infant He Frustrated Feng Ni Feng" [3] Photocopied the 14th poem of the Ming Dynasty, "Qi Jing Asks the Government", which is a true portrayal of Confucius's cold reception in the State of Qi. The 7th "Shi Zhou Gangu", the 8th "Greetings to Lao Tzu", the 16th "Shilu Xingdao", the 17th "Qi Ji Jia Gu", the 18th "Lu Bei Jia Gu", the 19th "Sandwich Banquet", the 23rd "Guo Kuang Song Zheng", the 29th "Er Yu Chen Cai", the 32nd "ZiLu Qingjin", the 35th "Lamentations ask the government", the 38th "Deletion of the Six Classics" and other events are based on the "History", "Analects", "Confucius Family Language" and other books.
Lu Shilin's "Double Phoenix Chronicle" (also known as "Qi MingJi", full name "Double Phoenix Qi MingJi") plays Zhao Kui of the Southern Song Dynasty and his brother Zhao Fan breaking Li Quanshi, and the main plot is based on the biography of Zhao Kui, Zhao Fan and Li Quan in the "History of Song". Brother Zhao Kui and Zhao Fan were the main contributors to quelling Li Quan's rebellion, and they had written to Shi Miyuan and Zhao Shanxiang respectively to ask for thieves. Zhao Kui wrote to Shi Miyuan, who knew the great righteousness and stakes of the country:
Quan Zhaozhou was anxious, and Kui Fu wrote to Shi Miyuan: "Li Quan has broken the salt city... Aoi heard that Yancheng was lost, and the sun and sunset extended its neck to make handsome facilities... Wouldn't it be a thief's plan to laugh at the world and laugh at the outside world... Kui fei wanted Emperor Zhang to cause trouble, and Li Quan was by no means a loyal subject or a filial son. If he listens to Aoi's words, changes his map, and sends troops to rebel, then he can only strengthen the country and the security of the society, and the father and son of Aoi will receive the favor of the country, and they will also repay tens of thousands of dollars. If the minister does not listen to Aoi's words and does not send troops to beg for thieves, then he will not be able to strengthen the country and the security of the society, and Aoi will not know where to die, and he will not be able to repay the favor of the king. One security and one danger, one rule and one chaos, are the rebellion and disobedience of the imperial court. Huaidong'an is Jiangnan'an, Jiangnan'an is Sheji'an, Sheji'an is Cheng Xiang'an, and Xiang'an is a courtier of the country and a disciple of The Gate of Cheng Xiang. (Vol. 417, Biography of Zhao Kui)[2]9796-9797
When Li Quanbingfeng was rampant and arrogant, and Zhao Shanxiang hesitated, Zhao Fan also urged Zhao Shanxiang to suppress Li Quan:
Fan also left behind the Book of Xiang, which says: "Those who are in solidarity with the clan today are only the prime minister on the inside, and only the envoy and Fan and Fan Di Kui'er on the outside." If the thief succeeds, these four houses will have no reason. "So the conspiracy of the thief was decided, and the whole was killed." (Vol. 417 Biography of Zhao Fan)[2]9802
When the Song Dynasty officials and troops surrounded Li Quan, "Fan Qi's army marched at the same time, Kui personally fought, and the various armies fought." Total embarrassment, from dozens of horses to the north, Aoi led the generals to make courage, Ninghuai army to stomp on... The whole ride can't be pulled out. The warriors stabbed at more than thirty of them, saying, "Don't kill me, I am the leader." ’...... (Zhao Kui) crushed his (press, referring to Li Quan)'s corpse, divided his saddle horse armor, and killed more than thirty people" (vol. 477, "The Renegade Ministers Passed Down li quan") [2] 10706, "Attacking the east gate of Yangzhou, Aoi himself went out to fight... (Shaoding) In the fourth year of the first month of the first month, (Zhao Kui) killed Quan" (vol. 417, "The Biography of Zhao Kui")[2]9797, Zhao Kui and his brother Zhao Fan played the greatest role in the process of suppressing Li Quan. The image of Zhao Kui and Zhao Fan created in Lu Shilin's "The Tale of the Two Phoenixes" and the core content of the play are fully in line with the records of the "History of Song". Lü Tiancheng commented on the play: "Zhao Fan, Zhao Kui brothers, Zhen Chuzhou has a prestige. The fornication of Yang Gu (pressed, referring to Li Quan's wife Yang Shi), Li Quan's courage, is one of the Song Beetles, driving away fast people, this record can be copied quite well. [5] 182 Qi Biaojia also praised the play: "When Zhao Fan and Zhao Kui were rampant, they captured Li Quan and Li Yanggu with two scholars, and reaped the victory of Zaoyang, which really deserved the name of 'Double Phoenix'. ”［8］615
Tang Xianzu's "Zi Ji Ji" and "Zi Chao Ji" have added the content of Li Yi's relationship with The Military Shuo Fang and the Tang Dynasty and Tubo, and the added historical personnel are basically in line with the historical situation of the Middle and Tang Dynasties, and many have historical basis. For example, in the "Purple Book", Du Huangshou is written as the commander of Zhen Shou Shuofang, and the 26th "Arrival" has Huang Dusheng's self-introduction: "His own Du Huangsheng, the table character Zunsu, Jingzhao Wannian County people also." Early in the middle of the word family, from the Fenyang Prince Yizuo town Shuofang. The three emperors of The Shunzong Dynasty have been restored to the present day. The official paid homage to the inspector Sikong, and the Zhongshu Menxia Pingzhangshi, the body was on the face. Shouzan Zhongxing, East Cut Qingqi, South Ping Huai Cai, North An Yinxia, West Xun Jin Dai. He was enfeoffed as the Duke of Yingguo and ate ten thousand households. Imperial story, prime minister line side. The saint took the old man to the old man and divided his teeth to build a mansion. [9] In the 26th "Arrival of the Plug", we compare the introduction of the play with the "New Book of Tang" and the "Biography of Du Huang":
Through comparison, it can be seen that the introduction of the play is basically a reproduction of the historical legend. However, in the "Purple Book", Li Yitoujun Du Huang Qiao Is written, which has no historical evidence and belongs to artistic fiction.
In the "Purple Book", Li Yi was changed from the commander of the military Shuofang to Liu Gongji (historically, his real name was Liu Ji), and Liu Gongji introduced: "Liu Gongji is also from his own family. Chengtian Zi ordered the town of Shuofang Hexi Erdaojie to be moved to the outside of the Yumen Pass. Play the Holy Will, personally point out that Li Yi joined the army. My deceased also reported that I have arrived today. The border cities have been distributed, and the flags and orders have been refined. [9] The 29th Gao Yanfei Shu examines the Old Book of Tang and the New Book of Tang, li Yiben's biography: "(Li) Yi was not pleased, heshuo in the north, And Liu Ji in Youzhou was engaged, and often had the sentence 'not going to the Wangjing Tower' with Ji Shi. (Vol. 137, "Biography of Li Yi") [11] 2565 "(Li Yi) You Yan, Liu Ji set up the shogunate and became the deputy envoy of Yingtian. (Vol. 203, "The Biography of Li Yi under the Literature and Art Column")[10]4425 Compared with the historical books, it can be seen that the arrangement of the "Purple Book" is more in line with the historical biography than the "Purple Book".
Both the Zi Ji and the Zi Ji also added plots about the relationship between the Tang Dynasty and Tibet. By comparing the Tubo Biography written in the play and the Old Book of Tang and the New Book of Tang, it can also be seen that the addition of such content in the two dramas is completely in line with the historical situation, and many people and events still have a certain historical basis. The Compendium of Qu Hai's General Catalogue criticizes the Zi Ji Ji: "Insert Tang Dynasty characters, regardless of chronological order, random arrangements to show the magic of the game." [12] 233 For example, in Li Yiben's biography, Li Yi is confessed to be a son of Li Yi, the Zi Ji ji arranges Li Yi and Li Yi as a father-son relationship, and the Outline of Qu hai's general catalogue believes that such situations indicate that the play arbitrarily involves Tang Dynasty characters, which belongs to the game attitude and is not rigorous enough. The author believes that because Li Yi had once held high positions such as the Muzhou Assassin History, the Guozi Sacrifice Wine, and the Rebbe Shangshu, the Purple Book of The Book of Li Yi arranged Li Yi as Li Yi's son in order to highlight the honor of Li Yi's court, which although it did not conform to the relationship between real historical figures, was a literary and artistic brushwork that was not a big obstacle and was easy to understand. On the whole, most of the historical personnel of Tang Xianzu's "Zi Zhen Ji" and "Zi Chao Ji" can find relevant historical basis, especially the historical situation of the two plays is in line with the historical reality of the Middle and Tang Dynasties.
There are also some plays that have also added historical content based on historical biographies. For example, Zhu Ding's "Record of the Jade Mirror Platform" not only writes about Wen Zhao's love but also writes about his deeds, and most of the historical content added has historical evidence. Another example is Feng Menglong's "Jingzhongqi", the author's preface said: "The old "Jingzhongji", slang and untruthful, the knowledgeable hate it. From the main history of the biography, with reference to the facts of "Tang Yin Temple", it was compiled into a new drama, called "Jingzhong Banner". The loyal banner, given by Emperor Gaozong. Nirvana recites the oath master, where the generous festival of Yue Hou lies. He is like the martyrdom of Zhang Xian, the martyrdom of Yue Yun and the silver bottle, the martyrdom of the kings of The King, the martyrdom of Shi Quan and Kui Shun, the life and death or the special, and its excitement is in the ear of Jing Zhong. The long tongue of the editor is private, and the Senluo Temple's inquiry is slightly embellished. However, the husband and wife are seated together, and the East Window Incident and other things, the historical legend and other records are all well documented, and those who are not fabricated and not rooted are compared. Fang's old book, not straight! [12] 341 Another example is Feng Menglong's "Restaurant Maid", and the "Compendium of Quhai's General Catalogue" states that he "passed on Li Xie as a restaurant maid, all according to the history".[12] 346. This all shows the creative pursuit of the author or adaptor to pay attention to historical evidence.
Fifth, some other creative characteristics
Ming legendary historical drama integrates more love content, and "Legend Ten Nine Loves" also has obvious performance in Ming legendary historical dramas. Xi Shi was originally a tool used by the Yue King to carry out a beauty plan against Wu Wang Fuchai, and was a victim of the political struggle between Wu and Yue, and the focus of Xi Shi's story was often on the means of Wu Yue's struggle for hegemony. Liang Chenyu's "Huan Sha Ji" not only has a thick historical rise and fall content, but also focuses on rendering the lingering love between Xi Shi and Fan Li, which is a political and love drama. Zhu Ding's "Jade Mirror Terrace" shows the story of wen yao, a political figure in the Eastern Jin Dynasty, and the play shows the historical situation at that time, while interpreting the love between Wen Yu and his cousin Liu Runyu, and is also a drama of politics and love. Zhang Siwei's "Tale of The Two Spirits" writes the heroic story of Han Shizhong and Mrs. Liang's wife, the play is named "Hongyu" as Mrs. Liang's wife, and writes that it is a Tokyo church music trick, and the play is interspersed with her and Han Shizhong's love process, and the hero drama contains love content. Gu Dadian's "Green Shirt" is derived from Bai Juyi's "Pipa Line" (and preface), Bai Juyi's poem was originally the main theme of lamenting the ups and downs of the eunuch sea and the fate of self-pity, Gu Dadian's "Green Shirt" added the content of Bai Juyi and the businessman Liu Yilang to compete for the prostitute Pei Xingnu, and created the play into a love drama for talented women and even a style drama for prostitutes. Tu Long's "Cai Hao Ji" focuses on Li Bai's deeds, Wu Shimei's "The Book of Surprise" shows the harem struggle during the Tang Xuanzong period, and the struggle between the imperial concubines and the concubines has become an important part of the two plays. Xu Fuzuo's "Tale of tossing Shuttles" plays the deeds of Xie Kun at the end of the Western Jin Dynasty and the beginning of the Eastern Jin Dynasty, Xie Kun is famous for repeatedly advising Wang Dun and dissuading Wang Dun not to rebel at that time and later generations, and the play not only interprets the politics of that time, but also adds many plots of Xie Kun's love with his neighbor's daughter Yuan Miaofeng. Even Ye Liangbiao's "Book of Cents" also shows the friendship between Guan Zhong and Bao Shuya, showing Guan Zhong's deeds of merit, and integrates the love content of Guan Zhong and Jiang Yiniang. As for Sima Xiangru's story dramas such as Sun Yu's "Record of the QinXin", Han Shanggui's "Lingyun Record", and Chen Yutou's "FengQiu Phoenix", the love of Sima Xiangru and Zhuo Wenjun is of course the main content of the play. There are very few historical dramas in the strict and general sense of song and yuannan drama, and although the "Pipa Record" and "Jingchao" take historical figures as the protagonists, there is no well-documented historical content in the play, so the ming legendary historical drama and the historical figure story drama in the Song Yuannan drama are less comparable. Comparing the historical dramas between the meta-miscellaneous drama and the Ming legend, it can be seen that the love component in the ming legendary historical drama is significantly higher than that in the meta-miscellaneous drama historical drama. As one of the most common and important performance contents of Chinese opera, love has been prominently displayed in the historical dramas of the Ming legend, including the Ming legend.
Some of the Ming legendary historical dramas are themselves festive works, such as Xie Chen's "Four Joys" playing the suburbs of the Northern Song Dynasty, the Song Qi brothers' scientific expeditions, their deeds, and their love are very happy, the anonymous "Baishun Ji" plays the Northern Song Dynasty King Zeng's meritorious, rich, and shou examinations are smooth, and the nameless "Five Blessings" plays the wife and concubine of the famous Northern Song Dynasty minister Han Qi, who gave birth to five sons at the same time, and Song Renzong gave him the Plaque of wufutang. Although some historical dramas interpret tragic and tragic things, some of the plays change from sadness to joy, some dilute the content of tragedy, and some add bright tails to tragedy. In doing so, the author does this, some of which are adapted history or the original story ending, and some of which are to comfort people's hearts, so it can be seen that the aesthetic psychology of national culture has a profound impact on the play, and the reunion ending mode has gradually formed. Tang Xianzu's "Purple Book" and "Purple Jade Record" were adapted from Jiang Fang's "Biography of Huo Xiaoyu", the love between Li Yi and Huo Xiaoyu in "The Biography of Huo Xiaoyu" ended in tragedy, Huo Xiaoyu died, Li Yi suffered from a suspicious heart disease and lived unhappy, Tang Xianzu's "Purple Book" and "Purple Jade Record" were changed from sadness to joy, and in the two dramas, Li Yigong became a eunuch and married Huo Xiaoyu as a happy couple.
Historically, although Wu Zixu led the Wu army into the Chu state and avenged the murder of his father Wu Hao and brother Wu Shang by King Chu Ping, Wu Zixu's final outcome was very tragic. Wu Wangfu listened to Bo Zhao's rumors and gave him a sword to make Wu Zixu commit suicide, and after Wu Zixu's death, he was "taken by King Wu to take the corpse of Zi Xu and put it in the middle of the floating river" (vol. 66, "The Biography of Wu Zi Xu") [7] 1731. Meng claimed that Shun's "Erxu Chronicle" wrote that Wu Zixu led the Wu army to defeat the Chu army and Shen Baoxu moved the Qin soldiers to try to save Chu, writing that Wu and Chu finally talked about peace, and Wu Zixu and Shen Baoxu met peacefully. The play does not have the tragic end of Wu Zixu's tragic death, but ends in a peaceful atmosphere.
Historically, Qin Juniper and other traitors were able to die at the end of their lives, and Qin Juniper was extremely honored after his death. Feng Menglong's revised edition of "Jingzhongqi" writes that Yue Fei's ghost wore a sword and led a group of ghosts to curse Qin Juniper, and Qin Juniper was frightened and died of illness. Qin Jun, Zhang Jun, Wan Qian, and Qin Jun's wife Wang Shi endured all kinds of torture in the underworld and were tried justly, Yue Fei, Yue Yun, and Zhang Xian's unjust cases were rehabilitated, and they were reinstated, knighted, and buried, and the play added a bright tail to Yue Fei's case. Tang Zichui's "Continued Jingzhong" even wrote that Qin Juniper and his wife confessed to the crime and that Qin Xi,the son of Qin Juniper, was finally captured and beheaded after surrendering to the Jin army, which was very different from historical facts, and was completely caused by the righteous indignation of changing sorrow into joy.
Wang Tingne's "Record of Righteous Martyrs" reflects the scourge of the Eastern Han Dynasty, and depicts the struggle between Zhang Jian, Li Bing, Fan Huan, Chen Fan, Dou Wu, Kong Bao, Huang Fugui, Cai Yong and other upright ministers and Hou Lan, Hou Shan, Cao Jie, Dong Zhuo and other evil and traitorous ministers. Historically, Fan Huan, Chen Fan, and Dou Wu all died in the scourge of the Party, and Fan Huan died at the age of 33. In the disaster of the party, there were many people implicated in Zhang Jian's case, and Zhang Jian was framed by Hou Lan and his minions for offending Hou Lan, and Zhang Jian fled abroad in order to avoid arrest. Because people respected Zhang Jian's fame, many people took in and hid Zhang Jian, and many people suffered bad luck as a result, and many people's families were destroyed and killed, and the process and results were particularly tragic. "And frugality and other outlaws, wherever they have experienced, they have been examined, and their words have been quoted and spread all over the world." (Vol. 67, "The Biography of Xia Fu") [13] 1488 "Frugality is outlawed, forced to run away, looking at the door to stop, not to value his name, to break the family compatibility ... In his experience, there were dozens of heavy curses, and the clans and relatives were all destroyed, and the counties were destroyed. (Vol. 67, "The Biography of Zhang Jian") [13] In 1493, Kong Bao (Kong Rong's brother) was killed for hiding Zhang Jian, and Li Bing was also tortured to death because Zhang Jianshi voluntarily surrendered himself. Wang Tingne's "Book of Righteous Martyrs" basically and truly reflects that tragic history, but it has been modified in detail. In history, Hou Shan and Hou Lan, who had committed many evil deeds, committed suicide, Cao Jie was harmed for a long time and even died, in history, Dong Zhuo later controlled the government, and in the "Record of Righteous Martyrs", it is written that Hou and Cao were overthrown, Dong Zhuo was charged with troops, and it was also written that the party members had to be rehabilitated at that time, the party members were promoted to the rank of knight, and the deceased were praised and compensated. The play gives people psychological relief with a bright tail.
In history, Wen Tianxiang, Zhang Shijie, Lu Xiufu and others died tragically, and the personal endings of the heroes were tragic and abnormal. After zhu Jiujing wrote in the "Yashan Lie" that after the death of Wen Tianxiang and other heroes, the ancestors of the Yuan Dynasty set up Wen Tianxiang tablets to pray, and then sent Boyan to Yashan to pay homage to the Southern Song Dynasty monarchs, and Zheng Huchen fished for the bones of the empress, the young emperor, Zhang Shijie, Lu Xiufu and others, set up tombs, and planted holly as a marker for sacrifice. "Cliff Mountain Lie" not only truly shows the tragic process of the fall of the Southern Song Dynasty, but also adds a touch of bright color.
The proportion of literati writers of the Ming legendary historical drama is high, and the literati of the ancient drama are obviously interested, and the materials and performances are significantly different from the artists' historical dramas. Literati like to be talented, and the Ming legendary historical drama has a rich historical and cultural connotation. The legendary system is magnificent, the degree of narrative is much higher than that of miscellaneous dramas, and the historical personnel of the Ming legendary historical dramas are obviously more than the miscellaneous historical dramas. The Ming Dynasty was a Han regime, and the Ming legendary historical drama did not have the metaphorical performance of the meta-drama historical drama on the oppression of foreign nationalities. Although the Ming Dynasty had the problem of eunuch dictatorship and border troubles, it did not directly subvert the regime, so the Ming legendary historical drama did not have the sad depression of the historical drama of the mentality of the remnants of the early Qing Dynasty, nor did it have the apocalyptic sentiment of some historical dramas after the Opium War. The difference between subjective and objective factors makes the Ming legendary historical drama clearly highlight its own characteristics in the selection and handling of historical sources and historical events.
exegesis
(1) Quoted from the 10th fold Zhang Shijie, see the editorial board of the "Guben Opera Series": "Guben Xiqu Series Ii Collection" photocopy of the old manuscript, Shanghai Commercial Press, 1955 edition.
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