Zhang Fengyi is the author of the famous Ming Dynasty legend "Red Breeze", which is his debut work in this regard, created at the age of nineteen at the honeymoon stage of his new marriage. Tan Zhengbi and Tan Xun wrote an article entitled "On Zhang Fengyi and His 'Red Breeze'": "According to legend, "The Red Breeze Record" is his debut work written in the first month of his new marriage. According to the custom of Wuzhong, after the new marriage, the groom must accompany the bride at home for a month, called the 'companion room', which is equivalent to the so-called honeymoon in foreign countries, but the honeymoon is a trip abroad, and the companion room is spent in the new house at home. Busy with creation during the honeymoon period, it can be seen how obsessed Zhang Fengyi is with opera. However, his debut work became the masterpiece of his life, which is also a miracle.
Zhang Fengyi wrote the second volume of "Chen Meigong's Criticism of the Red Buddha", and the script was engraved in the warm red room of the Liu clan in the eighth year of the Republic of China
In this article, Tan Zhengbi first discussed the golden age of southern opera legends between the middle of the Ming Dynasty and the middle of the Qing Dynasty, and then discussed the situation of southern opera dominating the world: "During the years of Zhengde and Jiajing, the composer Wei Liangfu improved the Kun cavity, and Liang Chenyu used the Kun cavity to write the "Huan Sha Ji", which made the southern opera also take a big step forward in musical singing. They are like the east wind in the spring that prompts thousands of flower buds to bloom, and they play an extremely important and decisive role in the link of continuing to prosper the southern opera. As a result, Nan opera and Kun Cavity were regarded as two in one, which not only overwhelmed the Northern Opera, which originally dominated the drama world, but also made his Southern Opera singing voice (such as Yiyang, Haiyan, Yuyao, etc.) dull and colorless. Since then, general dramatists have competed for legendary creations, competing for beauty and piling up gold and jade, resulting in a prosperous and splendid golden dynasty of southern opera. Zhang Fengyi's "Red Breeze" is also appearing in this great era, so what level does he belong to in this era? Tan Wenzhong went on to write: "The Red Breeze is one of the earliest in this pile of beautiful golden jade bushes, and it was very popular at that time. ”
Zhang Fengyi wrote the second volume of "Chen Meigong's Criticism of the Red Buddha", and the script was engraved in the warm red room of Liu Shi in the eighth year of the Republic of China, and the illustration was one
Obviously, Tan Zhengbi and Tan Xun's exposition in the text did not use extremely good words to praise, but Li Zhuowu at the end of the Ming Dynasty did not hesitate to praise the "Red Breeze Record", which he said in the fourth volume of the "Book Burning": "This record is good, the song is good, the white is good, and the matter is good." Lechang breaks the mirror and overlaps, the red whiskers have unparalleled wisdom eyes, the beard abandons the family and enters the sea, and the yue gong and sends two prostitutes, all of which can be taught and respected. What is it that legends cannot be prosperous, cannot be observed, cannot be grouped, and cannot be complained about? Between the food and drinks, the uprising was full of emotions. The joy of the present is the joy of the past, fortunately there is no difference in its view! "Such a good, good, and good should also be regarded as a kind of selfishness, but at least it shows that the "Red Breeze" has had a great influence in the Ming Dynasty."
Zhang Fengyi wrote the second volume of "Chen Meigong's Criticism of the Red Buddha", and the script of Liu's Warm Red Room engraving in the eighth year of the Republic of China, illustration II
From personal experience, Zhang Fengyi was originally famous for poetry. The Biography of Ming Shi Wenyuan states: "After that, the people Zhang Fengyi, Yan Yi, and Xian Yi had the name of Cai. Wu Ren said: 'There are four emperors in the front and three in the back.' 'Fengyi and Yanyi will eventually lift up people, and Xianyi is a student, with a growing name, old age, madness, and murder by the enemy family. The "three Zhangs" here refer to Zhang Fengyi and his two brothers, YanYi and Xianyi. These three brothers are on a par with Emperor Fuchong, Emperor Fu, Huang Fu, and Huang Fu Lian, and are collectively known by the world as "four emperors in the front and three in the back". But unfortunately, the three brothers had participated in the scientific expedition at the same time, but the dedication of the wing did not win the examination.
Forty-three years after Ming Jiajing, the three brothers went to Nanjing to participate in the fourth township examination, and this time the scientific expedition Fengyi and Yanyi were the same as the people, only the sacrifice of the wing fell on the list, the reason was not because of the poor level of the wing sacrifice, according to the record on Shen Defu's "Wan Li Ye Ye Zhi Zhi": "The lord is slightly suspicious of the three people in the same column, and in order to cut one of them, it is younger than the same." Home angry, so grotesque to dispel the injustice. "This is really unfair, in fact, the three brothers have all passed the examination, but the chief examiner feels that the three brothers are lifted in the same session, worried that others will say that he cheated because of bribery, so he deliberately cut one, and Zhang Xianyi became a victim." This result, of course, made him indignant, and his behavior became quite grotesque.
Zhang Fengyi wrote the second volume of "Chen Meigong's Criticism of the Red Buddha", and the script of Liu's warm red room in the eighth year of the Republic of China was engraved, illustration III
In terms of learning, Zhang Xianyi is not inferior to his two brothers, according to the Qianlong edition of the Suzhou Fuzhi, Zhang Xianyi also has a number of works in existence, such as "Zhou Yiyue", "Reading Yi Hypothesis" and "Yi Miscellaneous Sayings", etc. It seems that Xianyi has studied the I Ching a lot, and he also has ten volumes of anthology, called "Wenqitang Collection". When I saw this hall number, I was quite puzzled, because the name of Zhang Fengyi's former residence in Suzhou was Wenqi Hall, was this the overall hall number in his home? This doubt remains unanswered as I write this.
For Zhang Fengyi's research, in my opinion, Xiao Bo's master's thesis "Zhang Fengyi and His Opera Research" is the most detailed, which mentions Zhang Fengyi's multiple hall numbers, but there is no Wenqitang. When talking about Zhang Fengyi's father, there are the following passages in the paper: "Father Zhang Chong ranked third, famous for chivalry in Wuli, Li Panlong said 'Yin Jun uses chivalry to smell', married Ye and Xu as wives, Fengyi, Xianyi, and Yanyi were born to Xu, and Zhang Chong also had a daughter married 'Changzhou Kusheng Han Shiyan'. And "Zhang Youyu Shengzhi" "Young is not only heavy, sexual and hospitable, hitting the joy of fresh drinking alcohol, gujiaqiao lane where the old ring lives, riding a crown to build up, back and forth, keeping orders and waiting for the ear'. and Qianlong's "Suzhou Fuzhi" volume 20, it can be seen that the Zhang family's residence is Gujiaqiao in Dunli, northeast of Suzhou City. On this page in this paragraph, there is the following small note: "At present, located at No. 128 Ganjiang Road in Suzhou City, the left side of the door hangs the words 'WenqiTang' and 'Zhang Fengyi's Former Residence' plaque, when there is an error, and the museum has been in the process of closure and repair, there is no way to see." ”
Zhang Fengyi wrote the second volume of "Chen Meigong's Criticism of the Red Buddha", and the script of Liu's Warm Red Room in the Eighth Year of the Republic of China was engraved, illustration IV
This small note about Zhang Fengyi's former residence and WenqiTang said that "there was a mistake when there was a mistake." It seems that Mr. Xiao Bo also suspected that Wen Qi Tang was not Zhang Fengyi's former residence. However, when I visited there, the former residence here was used by the Suzhou Municipal Cultural Relics and Archaeology Institute, which is a specialized archaeological research institute, so it seems that there should be no doubt that Wenqitang was identified as Zhang Fengyi's former residence. But what kind of question is this, that can only wait and rely on more research results to make a decision.
After Zhang Fengyi passed the examination, the luck of the scientific expedition was exhausted, and then successive failures made him give up his efforts in this regard, so he returned to Suzhou to concentrate on composing and writing songs. Zhang Fengyi's grandfather, Zhang Zhun, was quite talented in business, and in Fengyi's generation, his family was still well-off, which enabled him to do what he loved. At this stage, the most important book he compiled was the Annotated Anthology of Texts, after which Zhang Fengyi wrote a preface in which he said: "The Battle of Ding Ugly was written by the Four Emperors of the Li Dynasty. And that's not all, what about life? Therefore, Mu Panyue idly lived in the pleasure of his mother, and Xiu Yuqing was poor and worried about the business of writing books, but he swept away behind closed doors and concentrated on compiling. ”
Zhang Fengyi wrote "Chen Meigong's Criticism of the Red Buddha" in two volumes, and in the eighth year of the Republic of China, Liu's warm red room carved a script, illustration 5
It seems that in order to compile this book, Dumen Xieke, Zhang Fengyi believes that life is short, and it is necessary to do a meaningful thing, although this is only a book compilation rather than a creation. In fact, the choice of editors is also a value, and Zhang Fengyi also affirms his own labor. He said in the Book of The Book of the Emperor: "The Battle of the Anthology of Literature was intended to wash away the old notes and make a chest out. The first fear of the age is not with me, or can not be fulfilled, so there must be a cause. However, those who create their own views are also heng two or three, and self-forgiveness and yilin are not without less supplements. ”
Zhang Fengyi believes that his compilation of the "Notes on Selected Writings" will definitely be beneficial to the academic community. After the book was published, Zhang asked his friend Mei Dingzuo to help sell it, and Mei praised the book fiercely in a letter entitled "Reply to Zhang Boqi": "The Anthology of Notes deletes the complicated and simplified, outlines hook Xuan, and also uses the gong to cut the capital, and the fish is correct, and when you look at it, you know the painstaking heart." Solid foot wing Sven, will not go backwards with the key. Tan Zhengbi and Tan Xun also noted the value of the "Notes on the Selected Writings" in their monographs: "Among them, it is worth mentioning that Song Yu's "Divine Female Endowment" in his "Notes on the Selected Texts" has been corrected according to the evidence in Yao Kuan's "Xixi Congyu" and Shen Kuo's "Mengxi Pen Talk" of the Song Dynasty, and the words 'Wang' and 'Yu' have been corrected. From this point of view, it can be seen that the author's spirit and attitude of governing learning are very solemn and scrupulous, so he is happy to 'choose the good and follow' for the benefits of others' learning. ”
Zhang Fengyi wrote the "Red Breeze Record" Of the Mingyu Shan Mao Clan Ji Gu Ge carved "Sixty Kinds of Songs"
For Zhang Fengyi's family situation, many documents have been controversial. A passage in Shen Zhan's "Recent Events" says: "Zhang Xiaolian is a man of literary character, a lonely man, and a disgrace to make friends with nobles with poetry and words." It is said: "There is a lack of paper and pencil in this house, and those who have a face full of books with a fan are silver, and those who write eight sentences are three points, and special shou poems and shou texts are written, and each axis is several." 'Man strives for it. Since Gengchen, it has not changed for thirty years. This said that Zhang Fengyi was unwilling to make friends with the magnates with words, and posted a notice at the door of his home, saying that there was a lack of paper and pencil at home, and all those who asked for words had to spend money to buy it, so many people paid money to buy his ink treasure, and this sale was as long as thirty years, so some people thought that this was a manifestation of Zhang Fengyi's lack of money. In fact, from the perspective of his family lineage, Zhang Fengyi did not rely on Yuwen for a living.
At that time, he had contacts with many celebrities, such as Wang Shizhen, a famous scholar at that time. His anthology "The Collected Works of Zhang Boqi" is a preface written by Wang Shizhen. In the preface, Wang praised Zhang Fengyi's compositional standards: "Bo Qi can not be exhausted, but for the new voice of the music house, the love of the world is more than the ancient words, and the Bo Qi is disdainful." In the eleventh year of the Wanli Calendar, Wang Shizhen composed the "Forty Songs", which Xiao Bo believed was "equivalent to the expansion of the list of the 'Last Seven Sons'", and one of the "Forty Songs" had Zhang Fengyi. In the poem, Wang praised Zhang Fengyi as follows:
Bo began to become an artist, a beautiful teenager.
A finn of ink pond algae, all the work belongs to me.
Bo tour Yan Zhaotai, happy to cut the creek boat.
Calling himself a thousand autumn karma, he does not fake bus transmission.
Morning writings on the diver, and the bell period string is played in the evening.
Zhang Fengyi wrote the "Record of Irrigation Garden" Mingyu Shan Mao Clan Ji Gu Ge carved "Sixty Kinds of Songs" benefactor
It can be seen that the relationship between the two is quite tacit, and when Wang Shizhen's father died, it was Zhang Fengyi who wrote the eulogy. Similarly, Zhang Fengyi's mother was also written by Wang Shizhen. Despite such a close relationship, some things are inexplicable. For example, when Wang Shizhen was in office in Yunyang, Hubei Province, he asked someone to ask Zhang Fengyi for a calligraphy work, but he did not expect Zhang Fengyi to politely refuse this request. Xiao Bo believes that this is a difference between the two men's academic views.
Zhang Fengyi would also write soft essays for money, and when he was seventy-seven years old, Li Yingxiang, the commander-in-chief of Guizhou, asked him to write a "Flat Broadcast Record", the content of which was to sing praises for Li Gong and virtue. In order to get this generous remuneration, Zhang Fengyi wrote this article. In fact, people in social interaction, there are always such and such reasons, and why zhang Fengyi wrote this article, in addition to looking at the gold, will there be other reasons? This point also deserves further exploration.
Zhang Fengyi's twelve volumes of "Notes on Selected Writings" are engraved in the Ming Wanli Gengchen Year
However, his love for music should not be utilitarian. For example, Xu Fuzuo said in volume IV of the "Huadang Pavilion Cong Tan": "Bo Qi Shan Du Qu, from morning to sunset, his mouth was whimpering. Wuzhong's old composer Taicang Wei Liangfu rose up and changed. So far. Taste and Zhonglang performed "Pipa Record", father Zhonglang, son Zhao Shi. The viewer fills the door, disdainfully also. ”
In his later years, Zhang Fengyi composed music at home all day, from morning to night, writing and singing, I don't know if the neighbors heard it or not? Not only did he sing the Lute with his son, so much so that the people who came to see the play blocked the door of their house, which shows that the sound of his family's singing is enough to "disturb the neighbors".
Zhang Fengyi is so keen on writing plays and singing songs, of course, he has a close relationship with opera composers. Tang Xianzu was the most famous one in that period, and Zhang Fengyi's poetry collection includes a poem "Uncle Tang Yi", which writes about his interaction with Tang Xianzu:
Remember yesterday's thistle door traces, look at each other.
Common pity is like the sea, and the situation is like a rainbow.
The cold night pot is exhausted, and the spring star sword Peixiong.
Heaven and man know that there is a right, and they should enter the Weiyang Palace.
Zhang Fengyi's "Anthology of Selected Notes" twelve volumes, Ming Wanli Gengchen Year Engraving, Zhang Fengyi Preface I
For this poem, Xiao Bo's interpretation is: "The first link said that in the spring test of the fifth year of the Wanli Calendar, Tang and Zhang Chu would meet in Beijing, and the neck link pointed out that Tang Xianzu of the Zhengyue Dynasty had visited Zhang Bo in the north and started at Wumen. Similarly, Tang Xianzu also wrote about Zhang Fengyi in his poems.
Because of this kind of interaction, Zhang Fengyi will naturally be influenced by Tang Xianzu's way of composing. There is a record in Shen Defu's "Wild Harvest Compilation": "Shen Gong rhymes, and every song must follow the books of "Zhongyuan Yin Rhyme" and "Taihe Zhengyin", in order to compete with the Famous Jin and Yuan masters; Zhang uses rhymes with his intentions, and he just sings it. Yu asked and replied, "Zimi Gao Zecheng's "Pipa Record" or not?" Yu used this example, why not surprise! Here, Shen Defu compares Shen Jing and Zhang Fengyi, saying that Shen Jing composed music completely according to the rhyme book, and its purpose was to compete with the composers of the Jin Yuan Era; Zhang Fengyi was different, he used rhymes exactly according to his own meaning. Therefore, Shen Defu believes that Zhang Fengyi's music is a vulgar song, and he also asked Zhang Fengyi why he composed music in this way, and Zhang Zhengse told him: Have you seen the clever "Pipa Record", and my way of composing music is to follow this, what is surprising about this?
Zhang Fengyi's "Anthology of Notes" in twelve volumes, Ming Wanli Gengchen Year Inscription, Zhang Fengyi Preface II
In fact, Shen Defu's record of Zhang Fengyi's composition is not only this one, he also said in the text: "Liang Bolong and Zhang Boqi are from generation to generation, even if they have talent, they are not their true colors. Although Shen also admitted that Zhang Fengyi's song was very talented, he stood in the position of the Wujiang faction and believed that Zhang's song was not the right way. He also said in the text: "In recent years, Liang Bolong, Zhang Boqi, and the Juwu people have flourished in the world, and if they are based on the law of the "Central Plains Rhyme", they are also laymen. It seems that Shen Defu believes that only the songs filled in according to the rhyme book are the right way, and the rest are all wild fox Zen.