The Ming legendary historical drama has its distinctive characteristics, whether compared with the zaju historical dramas of the Yuan, Ming and Qing dynasties, or the Song, Yuan and Ming southern drama historical dramas, or even the Qing legendary historical dramas. Some of the Ming legendary historical dramas involve major historical events, and the music and music education is obvious. There are generally many historical figures in the Ming legendary historical dramas, rich historical content, many plots have historical records, and obvious tendency to respect history and identify the truth. In addition, there are many romance scenes in the Ming legendary historical dramas and the reunion ending mode is also worth noting. In comparison, the historical capacity of zaju historical dramas is limited, many zaju historical dramas tend to be freehand, and the narrative components of historical legends are less, and the historical dramas of southern opera are quite different from historical facts. The spirit of the times spoiled by the legendary historical dramas of Qing Dynasty and the legendary history of Ming Dynasty are generally different. These characteristics of the Ming legendary historical drama are related to the large number of literati writers and the deep cultivation of the historical factors of the times. This article analyzes and explains this.
. Many dramas express important historical content Ming legendary historical dramas directly express historical events, and although some are presented in the appearance of love dramas and other dramas, the historical and political content in the drama is obviously prominent. The main ones are listed:
Liang Chenyu's " Huansha Ji " is set in the Spring and Autumn Period and the Wu Yue War War was held in the background. He presented the beauty Xi Shi to the King of Wu through the Yue State doctor Fan Li , showing the rise and fall of Wu Yue. Although the anonymous "The Washing Shall" rewritten the plot and ending of "The Washing Shall", the content still revolves around the Wu and Yue fights.
Zhang Fengyi "Tiger Talisman" focuses on the deeds of Hua Yun, one of the twenty-four generals in Huaixi, and describes the fact that Hua Yun defended Taiping City in the late Yuan Dynasty and early Ming Dynasty, and broke the death of the city. The drama involves the battle between the two major groups: Zhu Yuanzhang and Chen Youliang . Zhang Fengyi's "The Stole Talisman" wrote Prince Wei Xinling Jun stole the military talisman through Princess Ru Ji, leading the Wei army to defeat the Qin army and lift the siege of Zhao, and involved the complex relationship between the various countries during the Warring States Period and the various countries. Zhang Fengyi's "Guanyuan Record" writes about the historical fact that Tian Fazhang, the fifth prince of Qi, escaped as a servant of Guanyuan. The drama involves the story of Yan general Le Yi defeating Qi and killing the King of Qi. The Qi general Tian Dan defeated the Yan army and restored the Qi State to welcome the legislative seal as the King of Qi. Later, Feng Menglong adapted the drama into "New Guanyuan". Although the specific plot has changed, the historical events are the same.
Zhang Siwei "The Story of Double Lieutenant" tells the story of Han Shizhong and Liang Hongyu, which involves the battle between Song and Jin in the early Southern Song Dynasty and Han Shizhong led his troops to fight against the Jin Dynasty. Chen Yujiao's "Qilin Fu" is adapted from Zhang Siwei's "Shuangliu Ji", and the main historical content of the play is the same.
Tu Long's "Caihao Ji" plays Li Bai's story. Through Li Bai's experience in entering the palace, he has brought in many important historical contents such as the Tang Dynasty palace political events with Emperor Xuanzong of Tang and Yang Guifei as the center, as well as the Anshi Rebellion, and the rise of Yongwang Li Lin, etc. Wu Shimei's "Jinghong" plays the story of Emperor Minghuang of Tang, Yang Guifei and Concubine Mei. Although Concubine Mei is a shadow character and the incident of Concubine Mei is based on notes and novels and folk legends, the play involves a lot of important historical events in the Tang Dynasty, especially the Anshi Rebellion that declined from prosperity in the Tang Dynasty.
Lu Shilin's "The Legend of the Double Phoenix" plays the brothers Zhao Fan and Zhao Kui who killed Li Quan and made contributions. The drama involves the Southern Song Dynasty's traitor Li Quan and his failure to attack the Song Dynasty and his death.
Niuge's "Mochenjian" is a play structure in the play. The play also involves historical events in the Han and Tang dynasties. It not only involves many historical events between Emperor Xuanzong of Tang, including the Anshi Rebellion and other historical events, but also shows the plot of Dou Wu, Chen Fan, Fan Pang and others being framed by eunuchs Cao Jie and Wang Fu through the play.
She Qiao "Ringjiang Ji" and Feng Menglong's revised version of "Ringjiang Ji" both play the story of Fan Ruoshui of the Southern Tang Dynasty during the Five Dynasties and Ten Kingdoms during the Song Dynasty to measure the width of the Yangtze River to help the Song cross the river to fight south, and involved the historical events of the Northern Song Dynasty destroying the Southern Tang Dynasty.
Zhu Ding "The Record of the Jade Jingtai" plays the love and achievements of Wen Qiao in the Eastern Jin Dynasty, and involves historical events such as the Northern Expedition of Zu Ti, Liu Kun, the Great Defeat of Shile, and the Punishment of Wang Dun's Rebellion.
Ye Liangbiao's "The Record of Dividing the Gold" plays the friendship between Guan Zhong and Bao Shuya, and the play involves the princes of Qi in the Spring and Autumn Period and the princes of Qi fought to be the king and Guan Zhong helped Duke Huan of Qi to dominate.
Bu Shichen "The Story of the Holly" plays the story of Lin Jingxi, the Southern Song Dynasty's Southern Song Dynasty, after the Yuan army captured Lin'an, Yang Lianzhenjia, President of the Jiangnan Buddhist Capital of the Yuan Dynasty, excavated the Southern Song Dynasty imperial tombs in Qiantang and Shaoxing, stole treasures and abandoned bones in the wild. Lin Jingxi and others went to pack up the bones of the emperor and empress, buried near Lanting, and transplanted the holly trees of the imperial tomb as a symbol, which involved the tragic history of the Southern Song Dynasty's national demise.
Feng Menglong's "Dinner Mansion" plays the struggle between Li Gu of the Eastern Han Dynasty, father and son of Li Xie of the Eastern Han Dynasty and the treacherous ministers, Liang Ji of the Eastern Han Dynasty, and the drama involves the struggle of the Eastern Han Dynasty's palace and the dictatorship of Liang Ji. Feng Menglong plays Yue Fei loyal to the country, and was tragically accused of death, and was later rehabilitated. The drama involves the unjust case of Yue Fei in the Southern Song Dynasty and the war between Song and Jin.
Wang Tingne's "Secretary of Heaven (Re-order)" plays a story about Sun Bin being framed by Pang Juan and finally avenge him. The drama involves the battle between Qi and Wei and the famous Battle between Maling during the Warring States Period. Wang Tingne's "Yi Lie" plays the struggle between loyal ministers such as Zhang Jian, Fan Pang, Chen Fan, Dou Wu and eunuchs and treacherous officials such as Hou Shen, Cao Jie, and Dong Zhuo in the late Eastern Han Dynasty, and involves the disaster of eunuchs' chaos in politics and party corruption in the Eastern Han Dynasty.
Qiu Ruiwu's "Yunhua" interprets Tao Kan's life story in the Eastern Jin Dynasty, writing about Chen Min, Du Tao, Wang Dun, Su Jun and others rebelled one after another. Tao Kan raised an army to save the king, quelled the rebellion, and supported the crisis, which involved the historical facts of the fall of the Jin Dynasty in the north after the southward transition.
Meng Chengshun's "The Records of Two Xus" plays the story of Wu Zixu's demise in the Spring and Autumn Period and the resumption of Chu. The drama involves the struggle between Wu, Chu and Qin countries during the Spring and Autumn Period and the relationship between Wu, Chu and Qin countries.
Zou Yuqing's "Qinghong Xiao" plays the role of Cao Cao's killing Emperor Xian of Han and the family of Empress Dong Guifei, and the drama involves historical events in the late Han Dynasty such as Cao Cao's autocracy and coercion of Emperor Xian of Han.
Fan Shiyan's "Mo Zhong Ji" plays the story of Wei Zhongxian's rebellion and power, and the drama involves the struggle between the Donglin Party members of the late Ming Dynasty and the eunuch Party of Wei Zhongxian.
Zhu Jiujing's "Yashan Lie" performed Wen Tianxiang and Lu Xiufu to fight against the Yuan Dynasty. Wen Tianxiang was captured and was killed unyieldingly. After the Yuan soldiers broke through Yashan, Lu Xiufu drove his wife into the sea first, and then lost the Shao emperor to the sea to die, which involved the historical events of the Yuan soldiers invading the south and the demise of the Southern Song Dynasty.
Ji Zhenlun's "Seven Victories" plays Zhuge Liang's southern conquest of Meng Huo and seven captures and seven rebels, and plays the relationship between the Wei and Shu during the Three Kingdoms period and the relationship between the Shu Han regime and the ethnic minority regime.
Pu Junqing's "The Legend of Yuntai" played Liu Xiu . He listed the names of the heroes on the stage, and involved the history of Liu Xiu's destruction of Wang Mang and reviving the Han Dynasty.
Qing Xiaosheng's "Happy Spring" plays the current affairs of the late Ming Dynasty, and describes the struggle between Mao Shilong and Wei Zhongxian, and the drama involves the struggle between the loyalty and treason between Yang Lian, Mao Shilong and Wei Zhongxian and the war between the Ming Dynasty and the Later Jin Dynasty.
Anonymous "The Legend of the Phoenix" plays the story of Yang Jisheng and Zou Yinglong and other "Eight Advisors" fighting over Yan Song and his son, and plays the political struggle of the Jiajing Dynasty of the Ming Dynasty. The Anonymous Family's "Eight Eight Meanings" plays the story of the orphan of the Zhao family, which involves the story of the Zhao Dun family being almost exterminated during the Spring and Autumn Period during the Linggong of Jin. The anonymous man "The Legend of Chi Song" plays the story of Zhang Liang's enlightenment in the Western Han Dynasty. The drama involves the struggle between Chu and Han, and Zhang Liang helps Liu Bang to seize the world. The anonymous man "The Legend of the Condor Heroes" plays the story of Wang Zhaojun going to the Huns to marry, and the drama involves the marriage between the Western Han Dynasty and the Huns. There are also some historical figure story dramas in the Ming legend, which involve more or less historical events.
2. Many plays convey the intention of Qushi and Qu Education
Zhu Jiujing's "Yashan Lie" shows the tragic history of the Southern Song Dynasty before and after Yashan was captured by the Yuan army. "The topic is upright and sufficient to match the purpose of persuading punishment", "It is especially upright to collect the temple with the praise of loyalty and sacrifice to the temple" (Xu Yinliu "Legend of Yashan Lie·Preface") [1] 1378. When the Yuan soldiers captured Yashan, Zhang Shijie died in battle. Lu Xiufu led the young emperor to the sea. Wen Tianxiang was captured and died unyieldingly, and all died bravely. The Yuan army was approaching Yashan, and the commander of the Yuan army, Zhang Hongfan, surrendered Zhang Shijie of the Southern Song Dynasty several times, but Zhang Shijie refused to surrender. "Hongfan got Shijie's nephew Han, and ordered him to be an official, and the three direct commanders were recruited. Shijie counted the ancient loyal ministers and said, "I know that I will surrender, and I will live a wealthy life, but I will never change my life for the Lord." (Volume 451 "Biography of Loyalty and Righteousness VI. Biography of Zhang Shijie") [2] After the defeat in 10315, Zhang Shijie drowned at the foot of Pingzhang Mountain.Lu Xiufu took the emperor to the sea, and his whole family died. In February of the 16th year of Zhiyuan (1279), the Yashan Mountain was broken. "Xiufu could not escape, so he drove his wife into the sea with a sword, and then he carried the king to the sea to die. At the age of forty-four" (Volume 451 "Biography of Loyalty and Righteousness VI·Biography of Lu Xiufu") [2] 10316. After Wen Tianxiang was captured, he refused the surrender of the Yuan people, "to calmly subdue the body, and die as if he was home", and "to die southward" (Volume 418 "Biography of Wen Tianxiang" [2] 9823. "Yashan Lie" has a true expression of this history. Faced with the dangerous situation of "the war is the weak, and the city is weak, the city is weak", Wen Tianxiang, Lu Xiufu, Zhang Shijie and others worked hard to hold on to it, "Today's affairs, gather troops and command generals to fight against the water. Victory Then the blessing of the country, and the defeat will be destroyed. This is the matter of the world's hero. If you abandon this separation picture, you can only find a piece of Zhao and Song dying on the ground." [3] The 10th chapter of the old manuscript of photocopy Zhang Shijie's words. "On the strong (outline) of life, you must practice everything, so why not be able to follow the East China Sea. The righteous spirit is bright and the eternal reputation is glorious. Don't look at the small show lightly, all loyalty and filial piety" [3] The 29th chapter of the old manuscript of photocopy [Qingjiang], Wen Tianxiang, Zhang Shijie, Lu Xiufu and others are all Their deeds are brilliant for thousands of years.
Bu Shichen's "The Record of the Holly" also shows the real history that occurred during the Yuan Dynasty's destruction of the Southern Song Dynasty. It plays the story of Tang Jue and others protecting the bones of the Southern Song Dynasty. This incident was seen in Luo Youkai's "Biography of Tang Yishi", and was transcribed by Tao Zongyi of Yuan Dynasty in "Nancun Zhugenglu". "Nancun Zhugenglu" records the discovery of "Biography of Tang Yishi" and says: "Mr. Wang Yun'an of Wuxing (national artifact), tells Yu The "Biography of Tang Yishi" in the collection. When I read it, I didn't realize it made me cry. I recorded it carefully. The "Biography" says: 'In the autumn of 1911, my friend Duansou Ni Jun passed by Yuxi and showed me a story about the miscellaneous things in Hangzhou. I read it, and was shocked and stood up and said, "How strange! There is this person in this life, and this is something I have. I want to tell me in detail."'" [4] 43 From here, we can see that whether it is Luo Youkai or Tao Zongyi, after learning about the deeds of Tang Jue and other righteous men, I have learned about the deeds of Tang Jue and others. He was deeply moved. Bu Shichen was also shocked by the excavation of the Southern Song Dynasty imperial tombs and the deeds of Tang Jue and other righteous men, and carefully created the legend of "The Legend of the Holly". The play tells the story of the Yuan Dynasty's destruction of the Southern Song Dynasty, the monk Yang Lianzhenjia, the president of the Jiangnan Buddhist capital of the Yuan Dynasty, stole the tombs of the empresses of the Southern Song Dynasty, stole the treasures from the tombs, and abandoned the corpses among the grasslands. Tang Jue, Lin Jingxi, Yuan Jie and others risked their lives to change the remains of the emperors with fake bones, buried in Lanting, and moved to the palace to Dong Green trees were planted on it as a symbol. Later, Yang Lianzhenjia took false bones and mixed them with dead bones of cattle and horses. He built a white tower in the Forbidden City of Lin'an to suppress it. It was called "Zhenben" to show the intention of suppressing the people of Jiangnan. The author of "The Record of the Holly" expressed the humiliating history of the demise of the Southern Song Dynasty with a deep feeling, "By listening to the old things of Holly, full of wet silk shirts" [3] Photocopying the first poem of "Liangling" in the Ming Dynasty, "The blood and remnant of the remnant are deeper" [3] ］Photocopy the 33rd "Journey" [End], "When it comes to the true love, the apes are heartbroken when they hear it" [3]Photocopy the 35th "Sacrifice to the Mausoleum" [Nanjiang'er Water], "The earth is thick and the bones are sealed across the south, and the clouds are sad and the grass is locked in the grass" [3]Photocopy the 35th "Sacrifice to the Mausoleum" poem. "The Tang scholars are loyal to the poor, and Lin Shangshe has a hero to form a righteous journey. Yang is punished for his evil deeds, and Yuan Zhizhong Yanshi has a son-in-law." [3]Photocopy the Ming Dynasty The first poem "The Legend of the Collar" in the publication "The Legend of the Holly" expresses the author's clear love and hate position through praise of Tang Jue, Lin Jingxi and Yuan Jie's loyal and righteous actions, and condemnation of Yang Lianzhenjia's sins. Lu Tiancheng's "Qu Pin" commented on the play's "sad and angry" and "real scene", and quoted his friend Zhang Wanghou as saying: "Teach Li Tuxian and his family were better than Huqiu's Thousands of People in the Mid-Autumn Festival. This was performed by thousands of viewers and many people crying. ”[5]125-126 It can be seen here that the author Bu Shichen's intention of Qushichen resonated strongly with Qu critics and audiences.
Fan Shiyan's "Mo Zhong Ji" interprets the loyalty and treason struggle between the Donglin Party members of the late Ming Dynasty and the eunuch party of Wei Zhongxian, involving important historical events during the Tianqi and Chongzhen periods. "History of Ming Dynasty" is recorded in Wei Zhongxian's book, Wei Zhongxian and Keshi colluded with Keshi, and was deeply favored by Ming Xizong , with power over the court and the people, "Ke Shi was lustful and cruel. Zhongxian is not aware of books, he is quite powerful in memorizing, guessing and enduring evil, and being fond of flattery.The emperor deeply trusted these two people, and the two became more and more powerful. They used Si Li Lin Wang Tiqian, Li Yongzhen, Shi Yuanya, Tu Wenfu and others as their wings. No one in the palace dared to offend them" (Volume 305, "Biography of Eunuchs II·Biography of Wei Zhongxian") [6] 5232-5233. In the fourth year of Tianqi (1624), the Wei Party's minions falsely complained about Zuo Guangdou, Wei Dazhong and others. Yang Lian was infuriated and reported Wei Zhongxian's crime. Wei Zhongxian went to Xizong to argue with himself and attacked Yang Lian and others. Xizong did not distinguish between good and evil, and dismissed and rebuked Yang Lian and others. Donglin and Wei Yin fought a life-and-death battle. Controversy:
Deputy Censor Yang Lian was very angry and impeached Zhongxian twenty-four major crimes. The memorial was the emperor, Zhongxian was afraid and asked for answers to Han. Unable to respond, he went to the emperor to cry and resigned from the Dongchang, and Keshi came from the side to analyze it, and he was like Qian and others. The emperor was confused and did not distinguish it. So he quietly ordered Zhongxian to stay, but the next day, Lian was sent to the ministers and ordered the ministers of Wei Liangxun and Xu Yuqing, Funing Marshal Zhu Guobi, Nanjing Ministry of War Chen Daoheng, and the ministers of the Minister of War Yue Yuansheng, and more than 70 people handed over to the seal on Zhongxian's illegality. Gao and Weng Zhengchun, Minister of Rites Weng Zhengchun, invited Zhongxian to send Zhongxian to be sent He returned to his private place to slander him, but he refused.
At that time, Zhongxian was very angry and wanted to kill all dissidents... Those who were dismissed for a while were dismissed, including the Minister of Personnel Zhao Nanxing , Zuodu Censor Gao Panlong, the Minister of Personnel Chen Yuting, Yang Lian, Zuo Guangdou, Wei Dazhong and others, have successively expelled Han and the Minister of War Li Banghua. When the people left the country, they were all like they were dying... (Wei Zhongxian's minions) Those who did not follow Zhongxian were called Donglin Party members and offered them to Zhongxian. Zhongxian was happy, so the small people sought to be charming Zhongxian and attack Donglin with their arms. (Volume 305 "Biography of Eunuchs II·Biography of Wei Zhongxian") [6] 5234
During the Tianqi period of Emperor Xizong, "At this time, the power of internal and external power was returned to Zhongxian" (Volume 305 "Biography of Eunuchs II·Biography of Wei Zhongxian") [6] 5236, out of righteous indignation, Fan Shiyan showed this cruel process of struggle through "Mo Zhongji". Fan Shiyan's "Preface" said: "I once saw the elders in the inner world, and when they talked about the supervisor of Wei, they wanted to eat their flesh... This is a compilation. How could they be completely covered by the evils of Zhongxian? However, if you want to make the village man and his wife in the world, the old man and the yellow child saw this, and scolded the loyal and virtuous person very much, and to show their sage virtues more and more. ”[1]1359-1360 Some commentators said: “This is a compilation, all like the actual records of Wei Jian. Even if there are decorations and the front and back are in line with each other, they are nothing more than expressing the indignation of the world. If it falls out, you will feel that the meridians are not related, so the performer should not look at it in ordinary terms. ” (Anonymous "Postscript") [1] 1361
Qing Xiaosheng's "Xi Feng Chun" and Fan Shiyan's "Mo Zhong Ji" are both dramas that denounce Wei, and also express the struggle between Yang Lian, Mao Shilong and Wei Zhongxian eunuch party in the late Ming Dynasty. Their skills come from the "Biography of Mao Shilong", "Biography of Wei Zhongxian", "Biography of Yang Lian", "Biography of Wei Dazhong", "Biography of Zhou Zongjian", "Biography of Cui Chengxiu", "Biography of Emperor Xizong", "Biography of Emperor Zhuang Lie", etc. Mao Shilong and Yang Lian and others are fellow disciples, "Yang Lian left the country, (Mao Shilong) to resist the escort. The first month of the Tianqi revision of the Yuan Dynasty, and made comments on the 'three cases', and strongly said that Sun Shenxing , Lu Menglong , Lu Dashou, He Shijin , Ma Defeng, Wang Zhilu, Yang Lian and others have made contributions to the country" (Volume 246 "Biography of Mao Shilong") [6]4267. Mao Shilong repeatedly opposed Wei Zhongxian (formerly known as Wei Jinzhong), and Wei Zhongxian and his followers tried their best to frame him, "After Zheng Zhongzhong, he changed his name to Zhongxian, and showed his robbery of the country, and hated Shilong." "Emperor Zhuang Lie succeeded to the throne, Zhongxian was executed. The court scholars were wronged by the dragon and were punished for their crimes. The dragon first came to the palace to thank him for his kindness and said that he was trapped. The emperor pityed him and ordered him to re-official office, but he did not call him to do so" (Volume 246 "Biography of Mao Shilong") [6] 4268. Qing Xiaosheng's "Happy Spring" praised Yang Lian and Mao Shilong, and beat Wei Zhongxian and Cui Chengxiu. "Wei Zhongxian, who steals power in the court, is as fierce as a jackal and leopard, and Cui Chengxiu, who is charming and elf, is willing to be a dog and eagle. Yang Duxian, who was on the chapter, roared the phoenix in the morning, and Mao’s slander, who fought against slander, was the sage of the sage and Xianglin” [3] Photocopying the first poem of "Outline" in the last Ming Dynasty, and the music and education were very clear.
Wang Tingne’s "Yi Lie Lie" performed "The incident of the Party and Prison in the Eastern Han Dynasty, Zhang Shanyang was in destiny, and the Kong family fought to die in a family, with high righteousness and weak clouds and sky, and the steadfast spirit was passed down through the metal and stone. My friend Wu Wu summarized the general principles and compiled them into legends. There is a famous teaching in the play, which is not accidental. There are many documentaries in the play, and this is a biography of "Book of Han" (Xue Yinghe's "Preface to the Records of Yilie") [1] 1280. "Book of Yilie" is included in the song with history, and is famous for the teachings with songs. The heart of historical education is obvious.The "Qilin Record" of the World of Heaven shows the life experience and life experience of Confucius. In the era of Confucius, "At the end of Zhou Ping, the king of heaven was weak and weak, and Qi, Qin, Jin and Chu were all showing off. Who would let the future be opened?" "This record shows the holy way, and there is something about the worldly religion" [3] Photocopying the first version of the Ming Dynasty [Xijiang Yue] and Binbai. "Qilin Record" interprets Confucius' academic and cultural contributions, carries out Confucian thought education, and demonstrates the obvious purpose of historical education.
3. Rich historical content
Compared with historical dramas in the zaber dramas of Yuan, Ming and Qing dynasties, there are generally more historical figures in the historical dramas of Ming legends; compared with historical dramas in the southern dramas of Song, Yuan and Ming dynasties, modern Peking Opera and local dramas, historical figures in the legends of Ming legends have a greater correlation with history. Generally speaking, there are many historical components and historical elements in the Ming legendary historical drama, and the historical content contained in the drama is relatively rich.
The Southern Opera of the Song and Yuan dynasties "The Zhuo Family Mandarin Ducks Club" has been lost, and it writes the story of Zhuo Wenjun and Sima Xiangru. Judging from the title of the play, it should be about the love between the two. In Yuan Zaju, Guan Hanqing and Qu Zijing both have "The Pillar of Xiangru, the Excerpt of the Fairy Bridge", both of which have been lost. Judging from the title of the play, there should be content about Sima Xiangru's pursuit of fame and fortune. The zajus during the Yuan and Ming dynasties also co-wrote "The Boobs" (lost), and Tang Shunmin "The Fengxue Xianting" (lost). The story of Sima Xiangru and Zhuo Wenjun can be seen in the Western Jin Dynasty Chang Yu's " Huayang Guozhi " Volume 3 "Shu Zhi", the Eastern Jin Dynasty Ge Hong " Miscellaneous Notes of Xijing " Volume 2 "Xiangru Death" and Volume 3 "Yang Baitou Yin", the Later Jin Dynasty Li Han's "Meng Qiu" Volume 2, and the Song Dynasty Zengqing's "Legends" Volume 28 quoted "Singing of the Strange Experiences·Xiangru Picking the Piano". Later, the story book "Fengyue Ruixian Pavilion" (included in the "Qingpingshantang Stories" by Hong Yu of the Ming Dynasty) performed the stories of Sima Xiangru and Zhuo Wenjun. In the story book, Sima Xiangru explained to Zou Yang and Mei Gao as friends at the gate of King Xiao of Liang in the capital. In addition, there were figures such as Wang Ji, Yang Deyi, the emperor, and the emperor's envoy, which added the narrative of Sima Xiangru opening the Southern Yi Tao in Bashu. However, overall, the historical components of the story book were not much. The main stories of Sima Xiangru and Zhuo Wenjun in the Ming legend are: Sun You's "The Heart of the Qin", Han Shanggui's "The Legend of the Cloud", Chen Yuchan and the Phoenix 5 "The Phoenix Seeking the Phoenix". In addition, Sima Xiangru also appears in Wu Dexiu's "The Legend of Stealing Peaches", and all of these dramas have their own versions. In Volume 2 of "Xiangru Death" and Volume 3 of "Yan Haitou Song", only the love and marriage process between Sima Xiangru and Zhuo Wenjun, and the story of Sima Xiangru and Zhuo Wenjun is added to the story book "Fengyue Ruixian Pavilion" that Sima Xiangru was favored by the "Zixu Fu", and the "Shanglin Fu" was praised and written by the General of the Central Lang. There are several Sima Xiangru story dramas in the Ming Dynasty, and the drama contains obviously more historical and personnel than notes and novels. Sun You's "Qinxin Ji" adds the scenes of Tang Meng in and the content of Sima Xiangru's "Changmen Fu" written by Empress Chen on behalf of Empress Chen. "Qin Xin Ji" is the 25th "Treacherous Ministers Misfor the Country", the 28th "Recruiting the Absolute Region", the 30th "Tang Meng Settled", the 32nd "Xiangru's Fighting", the 35th "Crying in Prison", the 36th "Tingwei seeks justice", the 39th "Looking at the Moon in Changmen", and the 41st "Lucking Jin Buying Fu", etc. [3] photocopying Ji Guge's publication is all added historical content. Han Shanggui's "Lingyun Ji" added two characters from King Xiao of Liang, Gongsun Gui and Yang Sheng, and showed Sima Xiangru's experience in King Xiao of Liang, and the affairs of Empress Tang Meng and Chen were also portrayed like Sun You's "Qinxin Ji". The second episode of "Lingyun Ji" is "Liang Yuan Fu Xue", the 13th episode of "Fu Song Lingyun", the 14th episode of "Changmen Buying Fu", the 18th episode of "Hearing the Unrestrained Swearings", and the 19th episode of "Reciting the Imperial Instructions on Shu" [3] The photocopying copy is all the more concentrated historical content. Chen Yuchan's "Phoenix Seeking Phoenix" is also similar to the two works of Sun and Han, and the historical content in the play has increased compared to notes and novels.
Tang Xianzu's "The Purple Flute Record" and "The Purple Chaikra" are both adapted from the Tang legend Jiang Fang's "The Biography of Huo Xiaoyu". There are only a few historical figures involved in "The Biography of Huo Xiaoyu". There are biography of Li Yi and Wei Xiaqing, but there are no historical books on Cui Yunming. The novel says that he is the representative of Li Yizhong. "The Purple Flute Record" adds a lot of historical personnel, and the historical personnel in "The Purple Chaikra" is also more than the Biography of Huo Xiaoyu.The historical figures that appear in "The Purple Flute Record" include: Li Yi, Hua Jingding (the name is Hua Qing in the play), Shi Xiong, Emperor Xianzong of Tang Li Chun, Guo Guifei, Yan Zunmei, Du Huangshang, Hao Yan (the name is Hao Yan in the play), Yan Chao, Du Qiuniang, Wu Lu Zan Xinya (i.e. Shang Bi, Mai, Shang Zipi in the play), Chi Zu Dezan (also known as Chireba Jian, "The New Book of Tang" and "The Old Book of Tang" are Keli Kezu, which is Yi Taizanpu in the play), Zanpu and Shang Qixiner (the name is Shang Qixin in the play); the historical figures that have decreased in "The Purple Flute Record" include: Wei Xiaqing and Cui Yunming. In addition, in "The Legend of Huo Xiaoyu", King Huo died, and in "The Legend of Purple Flute", King Huo was alive and appeared. The play arranged him as the son of Tang Shunzong of and the uncle of Emperor Xianzong of Tang; in "The Legend of Purple Flute", the character Guo Feng and Guo Xiaohou were also added, and he was arranged as the grandson of Guo Ziyi and the younger brother of Concubine Guo. It should be noted that the story of Li Yi and Huo Xiaoyu took place in the period of Emperor Xianzong of Tang Dynasty, and the King Huo mentioned in "The Biography of Huo Xiaoyu" and "The Purple Flute Record" did not really exist in history. Although King Huo and Guo Feng are not real historical figures, both of them are images created by the historical and historical model. The historical figures added in "The Purple Flute Record" add a lot of historic content. The line between Li Yi and his army is related to the military politics of the Tang Dynasty and the relationship between the Tang Dynasty and Tubo, which is not found in "The Biography of Huo Xiaoyu". The historical figures that appear in Tang Xianzu's "The Purple Hairpin" include Li Yi, Wei Xiaqing, Cui Yunming, and Liu Ji (known in the play as Liu Gongji). Liu Ji is a historical figure that is not found in the original novel added to the play. "The Purple Chairpin" adds historical content in the mid-Tang Dynasty through the plot of Li Yi joining the northwest army and serving under Liu Ji.
Yuan Zaju Guan Hanqing's "Yujingtai" mainly writes the love story of Wen Qiao of the Eastern Jin Dynasty. Although the Ming legend Zhu Ding's "Yujingtai" writes the same theme, the historical figures and historical content in the play are greatly increased compared to Guan Hanqing's works. Guan Hanqing's "Jade Mirror Platform" has no other historical figures except Wen Qiao, nor any historical content. Zhu Ding's "Jade Mirror Platform" includes many historical figures such as Wen Qiao, Liu Kun, Zu Ti, Guo Pu , Wang Dun, Shi Le, Wang Han, etc., adding important historical content such as Wen Qiao assisting Zu Ti Liu Kun's Northern Expedition, defeating Shi Le, and defeating Wang Dun's rebellion. The 9th episode "Shi Le Resurrection", the 10th episode "Wang Dun Loss", and the 12th episode "Xinting Pavilion". The Running Smile, the 13th episode "Hearing the Chicken Dance", the 14th episode "Shi Le Becomes King", the 19th episode "Crossing the River and Hitting the Oscillator", the 21st episode "Rizing the Rhino", the 23rd episode "Shi Le Reports the Defeat", the 26th episode "Wang Dun Rebellion", the 28th episode "Danyang Soldiers", the 29th episode "Blacking Wang Han", the 35th episode "Captaining Wang Dun", the 39th episode "Triumph of the North and South", etc. [3] Photocopying Ji Guge's publication is all content with strong historical and political significance.
4. Many plot contents have historical records.
Ming legend historical dramas are literature, drama rather than history. Therefore, each historical drama has fiction and content that is inconsistent with history. However, compared with the historical character story dramas in the Yuan, Ming and Qing dynasties and the Song, Yuan and Ming Nan operas, the historical dramas in the Ming legends generally deviate from historical records, and the tendency to respect history and seek reality is obvious.
The sixth chapter of the "Qilin Record" of the Universe, "The Officials of the People Cultivated" describes Confucius as a minor official who managed grain fields and raised livestock in Lu State. It is based on the records in "Records of the Grand Historian": "Confucius was poor and humble. When he was old, he once served as a historical member of the Ji family, and his materials were flat; he once served as an official and his livestock was prosperous." (Volume 47 "The Family of Confucius") [7] 1540 "Qi Jing Asked about the Political Affairs" wrote "Qi Jing Gong Asked about the Political Affairs of Confucius, and Qi Jing Gong was willing to absorb Confucius first. The plan of the son was later influenced by Yan Ying's opinion and rejected Confucius. Confucius returned to Lu sadly. This plot can also be found in "Records of the Grand Historian":
Duke Jing asked Confucius about politics. Confucius said, "The king is a minister, a minister, a father is a son." Duke Jing said, "Good! If you believe in the king, a minister is not a minister, a father is not a father, and a son is not a son. Even if you have grain, how can I get it to eat!" The next day, he asked Confucius again, and Confucius said, "Politics is to save money." Duke Jing said that he was about to seal Confucius with his nuns. Yan Yingjin said, "Confucians are funny and cannot be polite; arrogant and obedient, they cannot be the subordinates; mourning and mourning, bankruptcy and burying, they cannot be the customs; lobbying and asking for loans, they cannot be the country. Since the great wise men's resurgence, the Zhou Dynasty has declined, and there is a lack of rituals and music.Now Confucius is full of etiquette and etiquette for the descending ceremony and details. He cannot study his knowledge for many generations and cannot study his etiquette back then. If you want to use it to change the customs, it is not the reason why you should first carefully consider the people. "The Later King Jing saw Confucius respectfully and did not ask about his etiquette. On the next day, King Jing stopped Confucius and said, "I can't take my son to Ji's family." "Treat it with Ji Meng. The Qi official wanted to harm Confucius, but Confucius heard about it. Duke Jing said, "I am old and cannot use it." "Confucius followed suit and turned to Lu. (Volume 47 "The Family of Confucius") [7] 1541
"Far from the Master to Dong Qi, father, son, monarch and ministers can be seen. The 14th poem of "Qi Jing Asking about the Political Affairs" in the Ming Dynasty, this performance is a true portrayal of Confucius' cold reception in Qi. The 7th chapter of "Fu Zhou Reminders the Ancient", the 8th chapter of "Ask Laozi", the 16th chapter of "State the Way of Lu", the 17th chapter of "Qi Jian Gu", the 18th chapter of "Qi Jian Gu", the 19th chapter of "Lu Bei Jia Gu", the 19th chapter of "Jia Gu Banquet", the 23rd chapter of "Passing Song and Zheng", the 29th chapter of "The Evil in Chen Cai", the 32nd chapter of "Zi Lu Asking about the Political Affairs", the 35th chapter of "Adjustment to the Political Affairs", the 38th chapter of "Delete the Six Classics", and the 38th chapter of "Delete the Six Classics", all of which are based on the records of books such as "Records of the Grand Historian", the Analects of Confucius", and the 19th chapter of "The Legend of the Confucians".
Lu Shilin's "Shuang Feng Ji" (also known as "Qi" The story of Zhao Kui, the full name of "The Story of the Two Phoenixes") plays the story of Zhao Kui and his brother Zhao Fan in the Southern Song Dynasty. The main plot is based on the biography of Zhao Kui, Zhao Fan and Li Quan. The brothers Zhao Kui and Zhao Fan are the main heroes in quelling the Li Quan rebellion. They wrote to Prime Minister Shi Miyuan and Zhao Shanxiang respectively to request the defeat of the thief. Zhao Kui wrote to Prime Minister Shi Miyuan, explaining the national justice and interests:
Quan's boat building is becoming more urgent, Kui sent a letter to Shi Miyuan and said: "Li Quan has broken Yancheng ... Kui has heard that Yancheng has been lost, and he stretched his neck day and night to wait for the establishment of the commander... Such a dignified charity, wouldn't he fall into the thief's plan, make laugh at the world and laugh at the foreigners... Kui did not want to open the emperor to cause trouble, Li Quan is definitely not a loyal minister or a filial son. If the Prime Minister listened to Kui's words, he would change his plans and send troops to fight against rebellion, he would not only be able to strengthen the country and maintain the country's power. Kui and his son would receive the country's kindness for the whole time, and would be rewarded with tens of thousands of yuan. If the Prime Minister does not listen to Kui's words and does not send troops to fight against the thieves, how can he not be able to strengthen the country and maintain the country? Kui does not know where to die, and he can no longer repay the kindness of the king and prime minister. One safety and one danger, one governance and one chaos are the court's efforts to fight against rebellion or not. If the Huaidong is in Jiang , Nan'an , Jiangnan is in peace, the country is in peace, the country is in peace, the prime minister is in peace, and if the prime minister is in peace, all the ministers of the country and disciples of the prime minister are in peace. ” (Volume 417 "Biography of Zhao Kui") [2] 9796-9797
When Li Quanbing was in a state of rampant and prime minister Zhao Shanxiang was hesitant, Zhao Fan also urged Zhao Shanxiang to wipe out Li Quan:
Fan also left Shanxiang's book, saying: "Today, those who are in harmony with the clan society are the prime minister inside, and the commander and Fan and Fan's younger brother Kui'er outside. If a thief succeeds, these four schools will definitely be unreasonable. "Then the plan to fight against the thief was decided and Quan was killed. (Volume 417 "Biography of Zhao Fan") [2] 9802
The Song Dynasty's official army surrounded Li Quanshi, "Fan's army advanced together, Kui fought with her own hands, and the troops fought for the fierce battle. In a complete embarrassment, he walked north from dozens of cavalry, Kui led his generals to control the courage, Ninghuai army was defeated... All cavalry was trapped in Nao and could not be eliminated. The brave army stormed more than 30 spears and stabbed them randomly, saying, "I will not kill me, I am the leader." ’…… (Zhao Kui) The group of soldiers broke his (note, referring to Li Quan)'s body, and divided his saddle, horse, and armor, and killed more than 30 people" (Volume 477 "Biography of the Traitors·Biography of Li Quan") [2] 10706, "Quan attacked the east gate of Yangzhou, and Kui's personal fight... (Jui) killed Quan" (Volume 417 "Biography of Zhao Kui") [2] 9797, Zhao Kui and his brother Zhao Fan played the greatest role in the process of extermination of Li Quan. The images of Zhao Kui and Zhao Fan portrayed in Lu Shilin's "The Record of the Double Phoenix" and the core content of the play are fully in line with the records of "History of the Song Dynasty". Lu Tiancheng commented on the play: "Brothers Zhao Fan and Zhao Kui are famous in the town of Chuzhou. The sexual desire of Yang Gu (note, referring to Li Quan's wife Yang) and the courage of Li Quan were a traitor of the Song Dynasty, and he drove away people quickly. This record is quite good at imitating. ”[5] 182 Qi Biaojia also praised the play and said: “When the Jin captives were rampant, Zhao Fan and Zhao Kui captured Li Quan and Li Yanggu as the two scholars, and captured Zaoyang’s victory. It is truly worthy of the name of “Two Phoenixes”.”[8]615
Tang Xianzu's "The Purple Flute Record" and "The Purple Chai" added contents of Li Yi's relationship with the Tang Dynasty and the Tang Dynasty and the Tubo. The added historical personnel basically conform to the historical situation of the mid-Tang Dynasty, and there are many historical records. For example, in "The Purple Flute Record", Du Huangshang was the commander of the Shuofang, and the 26th episode "The Purple Flute Record" contains Huang Du Shang's self-introduction: "My name is Zunsu, and he is from Wannian County, Jingzhao. Early Chinese Ci, Prince Yizui of Fenyang, Zhen Shuofang. He served the three emperors of De Shunzong during his lifetime and served the three emperors of De and Shunzong again. The official was appointed as the inspector of the school, and he was in charge of the affairs of the minister of the Central Committee and was in charge of the superiors. The first praises Zhongxing, Qingqi in the east, Huai Cai in the south, Yinxia in the north, Jiang in the west. The imperial edict was granted the title of Duke of Bing and the fief of ten thousand households. The story of the dynasty, the prime minister goes to the border. The emperor said that I once lived in Shuofang and built a palace in different places. ”[9] In the 26th episode of "The Reaching the Frontier", we compare the introduction of the play with "New Book of Tang" and "Biography of Du Huangshang":
Through comparison, we can see that the introduction of the play is basically a reappearance of historical legends. However, in "The Purple Flute Record", Li Yi joins the army and Du Huangshang in the curtain. There is no historical evidence and is an artistic fiction.
"The Purple Chai" changed Li Yi's commander to the army Shuofang to Liu Gongji (historically known as Liu Ji), and Liu Gongji introduced: "I am the one who owns Liu Gongji. He followed the emperor's order to worship Erdaojie Town, Hexi, Shuofang, and moved near to the army outside Yumen Pass. He submitted an imperial edict and personally appointed the top scholar Li Yi to join the army. This is my old friend, and I report that I will be in office today. All border towns have been distributed, and the flags and orders have been issued to make some adjustments. ”[9] The 29th chapter of "Gao Banquet Fei Shu" reviews the biography of Li Yi in "Old Book of Tang" and "New Book of Tang": "(Li) Yi was not satisfied and traveled north to Heshuo. Youzhou Liu Jibi was engaged in the poems and often wrote to Ji, saying "Don't go to Wangjing Tower." ” (Volume 137 "Biography of Li Yi") [11] 2565" (Li Yi) Wen Yan, Liu Ji established the shogunate and was promoted to the deputy envoy of the camp. ” (Volume 203 "Biography of Literature and Art") [10] 4425 Comparing historical books, we can see that the arrangement of "The Purple Hairpin" is more in line with the historical records than "The Purple Xiao Ji".
"The Purple Xiao Ji" and "The Purple Hairpin" also add plots about the relationship between the Tang Dynasty and the Tubo. By comparing the "The Old Book of Tang" and "The New Book of Tang", it can also be seen that the content added to the two dramas is completely in line with the historical situation, and many people and events have certain historical records. "The Summary of the General Catalogue of Qu Hai" criticized "The Purple Xiao Ji": "Insert the characters of the Tang Dynasty, regardless of the order of the time, and are arranged randomly to show the magical power of the game. ”[12]233 For example, in this biography of Li Yi, Li Yi was told to be the son of Li Kui . "The Purple Flute Record" arranges Li Kui and Li Yi as a father-son relationship. "The Summary of Qu Hai General Catalogue" believes that such situations show that the play casually involves characters in the Tang Dynasty, which is a game attitude and is not rigorous enough. The author believes that since Li Kui once lived in high positions such as the governor of Muzhou, the Imperial Priest, and the Minister of Rites, "The Purple Flute Record" arranges Li Yi as the son of Li Kui in order to highlight the honor of Li Yi's family. Although this is not true to the relationship between historical figures, it is not big. The literary and artistic brushwork that is hindering and easy to understand. Overall, most of the historical and personnel affairs of Tang Xianzu's "The Purple Flute Record" and "The Purple Hairpin" can be found in relevant historical records, especially the historical situation of the two dramas is in line with the historical reality of the mid-Tang Dynasty.
also has some plays, and historical content has been added based on historical records. For example, Zhu Ding's "The Jade Jingtai Record" not only writes about Wen Qiao's love but also about his achievements, but most of the historical content added has historical evidence. For example, Feng Menglong's "The Jingquan Banner", the author's preface says: "There was the "The Jingquan Record" in the old, which is slang but inreal, and those who know it hate it. According to the official history, we will compile a new drama based on the facts of "Tangyin Temple Records" and called "Jingzhong Banner". The loyal flag was given by Emperor Gaozong. The swearing to the emperor is where the great festival of Yue Hou is. He is like Zhang Xian's death in his master, Yue Yun and Yin Ping's death in his father, King Qi's death in his friends, Shi Quan and Wei Shun's death in his life and death, which is a special thing, and it is only true that loyalty is the only one. The editor has long tongue and private relationships, and the Senluo Palace's investigation of things, and there is a little makeup on it. However, the couple's seat and the story of the east window are both historical records and other records, and those who are not fabricated are compared. The old version of the square is not different! ”[12]341 Another example is Feng Menglong’s “Dinner Mansion”. “Qu Hai’s General Catalogue” says that “Li Xie was a restaurant mansion and was based on the official history” [12]346. This shows that the author or adapter pays attention to the creative pursuit of historical evidence.
5. Other creative features
Ming legend historical drama incorporates more love content, and "Legendary Nine Lovesickness" is also clearly manifested in Ming legend historical dramas. Xi Shi was originally a tool for King Goujian of Yue to implement a beauty plan against King Fuchai of Wu and was a victim of the political struggle between Wu and Yue. The focus of Xi Shi's story is often on the means of Wu and Yue fighting for hegemony. Liang Chenyu's "The Legend of Washing Sha" not only has a profound historical rise and fall content, but also focuses on exaggerating the lingering love between Xi Shi and Fan Li, and is a political and romance drama. Zhu Ding's "The Record of the Jade Jingtai" shows the story of Wen Qiao, a politician in the Eastern Jin Dynasty. While showing the historical storm at that time, the play also interprets the love between Wen Qiao and her cousin Liu Runyu more. It is also a drama that combines politics and love. Zhang Siwei's "Shuanglie Ji" writes the heroic story of Han Shizhong and Mrs. Liang. The drama is named "Hongyu" as Mrs. Liang. She is a musical genius in Tokyo. The drama intersperses the love process between her and Han Shizhong, and the heroic drama contains love content. Gu Dadian " Qingshan Ji " is derived from Bai Juyi's "Pipa Xing" (Preface). Bai Juyi's poem was originally the theme of lamenting the ups and downs of officialdom and lamenting his fate. Gu Dadian 's "Qingshan Ji" added the content of Bai Juyi and businessman Liu Yilang for the prostitute Pei Xingnu, and created the play into a romantic drama of talented men and beautiful women, even a style drama of competing for prostitutes. Tu Long's "Caihao Ji" focuses on performing Li Bai's deeds, Wu Shimei's "Jinghong Ji" shows the struggle in the harem during the reign of Emperor Xuanzong of Tang, and the jealousy between the emperor and concubines has become an important part of the two dramas. Xu Fuzuo's "The Legend of the Stop" played the deeds of Xie Kun in the late Western Jin Dynasty and early Eastern Jin Dynasty. Xie Kun was famous for repeatedly admonishing Wang Dun and discouraging Wang Dun against rebellion at that time and later generations. The play not only interprets the politics of the time, but also adds many plots of the love between Xie Kun and his neighbor's daughter Yuan Piaofeng. Even Ye Liangbiao's "The Record of Dividing Gold" shows the friendship between Guan Zhong and Bao Shuya and the achievements of Guan Zhong, while integrating the love between Guan Zhong and Jiang Yiniang. As for the story dramas of Sima Xiangru, such as Sun You's "The Heart of the Qin", Han Shanggui's "The Story of Lingyun", Chen Yuchan's "The Phoenix Seeking the Phoenix", the love between Sima Xiangru and Zhuo Wenjun is of course the main content of the drama. There are very few historical dramas in the Southern Opera of Song and Yuan dynasties. Although " Pipa Ji " and " Jingchai Ji " have historical characters as the main characters, there is no evidence-based historical content in the play. Therefore, the legendary historical dramas of Ming Dynasty and the story dramas of historical characters in the Southern Opera of Song and Yuan dynasties are less comparable. Comparing the historical dramas of Yuan Zaju and Ming Legend, we can see that the love component in the Ming Legend historical drama is significantly higher than that in the Yuan Zaju historical drama. Love, as one of the most common and most important expressions of Chinese opera, is prominently manifested in the Ming legends and historical dramas.
Some of the legendary historical dramas in Ming Dynasty are festive works. For example, Xie Xu's "Four Happy Records" plays the brothers' scientific examination, achievements and love are all very happy. The Anonymous "Bai Shun Ji" plays the success of the Northern Song Dynasty Wang Zeng's fame, wealth, and longevity test. The Anonymous "Five Blessings" plays the wife and concubine of Han Qi, a famous Northern Song Dynasty minister, gave birth to five sons at the same time. Song Renzong gave him the plaque of Wufu Hall. Although some historical dramas perform tragic events, some plays change tragedy into joy, some downplay the content of the tragedy, and some add a bright tail to the tragedy. When the author does this, some adapted history or the original story ending, and some were to comfort people's hearts. This shows the profound impact of national cultural aesthetic psychology on the play, and the reunion ending pattern has gradually formed. Tang Xianzu's "The Purple Flute" and "The Purple Chairpin" were adapted from Jiang Fang's "The Biography of Huo Xiaoyu". In "The Biography of Huo Xiaoyu", the love between Li Yi and Huo Xiaoyu ended in a tragedy. Huo Xiaoyu died, and Li Yi was not happy after being suspicious of his illness. Tang Xianzu's "The Purple Flute" and "The Purple Chairpin" both changed sorrow to joy. In the two dramas, Li Yi succeeded in his official career and became a happy couple with Huo Xiaoyu.
Although Wu Zixu led the Wu army to invade Chu State and avenged the revenge that his father Wu She and brother Wu Shang were killed by King Ping of Chu, Wu Zixu's final outcome was very tragic. King Fuchai of Wu believed in Bo Jing's slander and gave Wu Zixu a sword to commit suicide. After Wu Zixu died, he was "taken by the King of Wu to take Zixu's body and take it over to the Qinyi and float in the river" (Volume 66 "Biography of Wu Zixu") [7] 1731.After Meng Chengshun's "The Records of Two Xus" shows that Wu Zixu led the Wu army to defeat the Chu army and Shen Baoxu moved the Qin army to survive the Chu army and tried his best to survive the Chu army, he wrote that Wu Zixu and Shen Baoxu finally made peace. The play does not end with Wu Zixu's miserable death, but ends in a peaceful atmosphere.
In history, Qin Hui and other treacherous ministers were able to die in their lives, and Qin Hui was honored to die before and after his death. Feng Menglong revised the book "Jing Zhong Banner" and wrote about Yue Fei's ghost wearing a hair and a sword, leading a group of ghosts to scold Qin Hui. Qin Hui was frightened and died of illness. Qin Hui, Zhang Jun, Wanqi, and Qin Hui's wife Wang suffered various tortures in the underworld and was judged by justice. The unjust cases of Yue Fei, Yue Yun and Zhang Xian were rehabilitated. They were reinstated, awarded titles, and buried with rituals. The play gave the Yue Fei case a bright tail. Tang Zichui's "Suo Jingzhong" also describes Qin Hui and his wife plead guilty and impose the law. Qin Hui's son Qin Hui was eventually captured and killed after surrendering to the Jin army. This is very different from historical facts, and it is completely caused by the righteous indignation of changing sorrow to joy.
Wang Tingne's "Yi Lie" reflects the disaster of the Party and Prison in the Eastern Han Dynasty, and interprets the struggle between upright ministers such as Zhang Jian, Li Ying, , Fan Pang, Chen Fan, Dou Wu, Kong Bao, Huangfu Gui, Cai Yong and other evil and treacherous ministers such as Hou Lan, Hou Shen, Cao Jie, and Dong Zhuo. Historically, Fan Pang, Chen Fan and Dou Wu all died in the Party and Prison disaster, and Fan Pang was only 33 years old when he died. During the Party and Prison disaster, many people were implicated in Zhang Jian's case. Zhang Jian was offended by Hou Lan and was framed by Hou Lan and his minions. Zhang Jian fled to avoid arrest. Because people respect Zhang Jian’s reputation, many people took in and hid Zhang Jian. Many people suffered misfortune due to this, and many families were destroyed, and the process and results were particularly tragic. "When Jian and other people's deaths were all taken, they were all examined, and their words were drawn, spread all over the world." (Volume 67 "Biography of the Party and the Prisons·Biography of Xia Fu") [13] 1488 "Jian was exhausted, and was forced to escape, and he was forced to stop. Everyone respected his reputation and behavior, and destroyed his family... What he experienced was that he was punished was a dozen of them, and his relatives were all destroyed, and the counties were destroyed." (Volume 67 "Biography of the Party and the Prisons·Biography of Zhang Jian") [13] 1493 Kong Bao (Kong Rong's brother) was killed for hiding Zhang Jian, and Li Ying was also tortured to death because of Zhang Jian's voluntarily surrendering himself. Wang Tingne's "Yi Lie" basically truly reflects that tragic history, but it has been transformed in details. Hou Shen and Hou Lan, who committed many evil deeds in history, committed suicide. Cao Jie was killed for a long time and died. In history, Dong Zhuo later controlled the government affairs. In "Yi Lie", it was written that Hou and Cao were beheaded by the Yi tribe, and Dong Zhuo was exiled to the army. In addition, it was written that the party members had to be rehabilitated at that time. Those who lived were promoted and re-elected, and those who were deceased were commended and lenient. The play gives people psychological comfort with its bright tail.
In history, Wen Tianxiang, Zhang Shijie, Lu Xiufu and others died very tragic, and the heroes' personal endings were extremely miserable. Zhu Jiujing's "Yashan Lie" wrote that after the death of the heroes such as Wen Tianxiang, the Yuan Dynasty set up Wen Tianxiang tablets to pray, and sent him to Yashan to worship the emperor and ministers of the Southern Song Dynasty. Zheng Huchen took out the bones of the Empress Dowager, Shaodi, Zhang Shijie, Lu Xiufu and others, set up tombs, and planted holly as a mark for memorial service. While "Yashanli" truly expresses the tragic process of the fall of the Southern Song Dynasty, it also adds a hint of bright color.
Ming legendary historical drama literati and writers, so the literati interest in the play is obvious, and the materials and performance are significantly different from those of artist historical dramas. Literature likes to show off their talents, and Ming legendary historical dramas have rich historical and cultural connotations. The legendary system is magnificent, and the narrative level is much higher than that of zaju. The legendary historical dramas in Ming Dynasty are obviously more historical and personnel than zaju historical dramas. The Ming Dynasty was a Han regime, and the legendary historical dramas of Ming Dynasty did not express the metaphorical expression of the Yuan Zaju historical dramas on the oppression of foreign races. Although there were eunuchs' autocracy and border troubles in the Ming Dynasty, they did not directly subvert the regime. Therefore, the legendary historical dramas of Ming Dynasty did not have the sad and suppression of the mentality of the historical dramas of the early Qing Dynasty, nor did they have the apocalyptic sentiment of some historical dramas after the Opium War. The difference between subjective and objective factors makes the Ming legendary historical dramas clearly show their own characteristics in the selection and handling of historical sources and historical events. Comments
① Quoted from the 10th chapter of Zhang Shijie's words. For details, please refer to the editorial committee of "Ancient Drama Series": Photocopying of the Old Manuscript of "Ancient Drama Series Two", Shanghai Commercial Press, 1955 edition.
Reference
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