Like a hundred swords cutting out your heart,
I only hate the rebellion of Huanglong in the west,
There is a serial watch calling its owner.
Long live the imperial edict,
Marshal Guo dragged out a able-bodied man in front of my house.
My aunt tried to kill me,
And Cheng Song secretly set a ring.
My uncle pretended to be ill,
Zhu should take the lead in defending his uncle.
I met Cheng Song halfway and lied to me.
I suffered a lot along the way and didn't have a meal.
Go to the border court and hit Huanglong repeatedly.
The soldier who killed the enemy returned home in triumph.
Marshal Guo went to the Golden Palace to report his merits.
Tang personally sealed the official position in the dragon chair.
The official appointed me to stand in Hou Chao's class in Pingxi.
I went home to worship my ancestors.
I really want to say that brocade belongs to mother and son.
Who would have thought that a family could not be reunited?
Aunt said that her mother-in-law and daughter-in-law had killed her,
Therefore, Dai Zhongxiao put rice in the grave.
When a person dies, he must not die again.
But why is she still in the world?
Unless my husband and wife meet in a dream,
I feel dizzy unless I want to kiss my mother.
It suddenly occurred to me that my virtuous wife, Zhu Shada,
Do you want to go up and ask questions?
Hey!
This woman,
You said you were Zhao Jingtang,
Zhao Jingtang holds a cinnabar ytterbium in his left hand.
I asked, do you have it or not?
Extended data:
Unique Cultural Implication of Qin Opera
Shaanxi Opera is an interpretation of loyalty, filial piety, chastity and righteousness that have flowed in the blood of the Chinese nation for several years. Whether it is the external form that her mind is awakened at first sight or the inner charm that she can be accepted and understood by the public unconsciously, it reflects her unique artistic appeal. Lofty content and great artistic character are given to ordinary, popular and almost primitive art forms.
Some people say that Shaanxi Opera is primitive rock, which conveys the prosperity and wild natural charm of the Yellow River civilization with a primitive and simple art form.
As the originator of China traditional opera, as the head of the flower department, there is no easy affectation of Kunqu opera, nor the noble origin of Yiyang opera, pretending to be profound and orthodox. However, as a drama, Qin people's bold, bold and graceful character art is beyond the reach of the two major dramas in the north and south.
From the perspective of the unique cultural implication carried and transmitted by Qin Opera itself, it is irreplaceable by Quyi. Shaanxi opera has long been a popular stage art. Whether fishermen, woodcutters, officials or farmers, they will taste the gains and losses in Shaanxi opera and play life and death in it.
First, Qin opera is the artistry of Qin people's lofty personality.
For thousands of years, Qin Fengxiong had mixed feelings of sadness and joy, and so did Qin Qiang. "Since Qin Xianggong recovered its abundant resources and established the State of Qin, it has become gentle and weak, and has become a strong and affectionate wind. Still ringing. " This shows the beginning of Qin Feng.
Li Si also said in "The Book of Departure": "It's really Qin Zhisheng who plays the jar button and the Zhengbo card, and the song catches people's eyes and ears." From this, we can also know a little about the primitive flavor and roughness of Shaanxi opera. Whether it's Xiao, the attack of the king of Qin, the construction of Gao Jianli, or the excellent Meng of Chu, it's the actor's first appearance, which reflects the high-spirited atmosphere of Qin Yun.
Located in the Central Plains, Qin is the radiation center of the decree of "ousting a hundred schools of thought and respecting Confucianism alone" and has a unique living environment for Confucian culture. Qin people also have their unique personality charm. They are not only different from the rudeness and even barbarism of pure northerners, but also different from the graceful lingering of pure southerners. They are gentle, honest, bold and agile.
They are heavy but not clumsy, smart but not frivolous, which is a typical value orientation of the mean. Yang Yanjing's choice mood in Yuanmen Chopping Son is contradictory, but in the face of loyalty and filial piety, he finally adopts the positive order of loyalty and filial piety, so that the whole rhyme is fixed in reality and reality, tragic and smart.
And Bao Zhao's eighteen years' hard work in Wudianpo, full of vitality, spirituality and deep pursuit of love and hate, all reflect the aesthetic temperament of seeking peace in Shaanxi Opera. The charm of Qin opera is also the charm of noble personality of Qin people after their artistry.
She has achieved profound meaning and shallow language in her artistic pursuit. She interprets the natural soul of traditional Chinese opera in an almost primitive style, and contains the agile and enthusiastic folk customs of Qin Dynasty in a seemingly rough art form.
There are some words in Mr. Wang's Notes on Shaanxi Opera: (Shaanxi Opera) uses strings to write lyrics, suona to blow lyrics, and blows and sings together, which is the beauty of peace and high-pitched, so this Shaanxi Opera has its own style. Jiang Dingzhou also fully explained the uninhibited and restrained golden mean contained in Qin Opera.
Shaanxi opera is a kind of stage art that people like to see and hear. It has a close relationship with the people, because it embodies the general public, and Shaanxi opera is an art that does not distinguish between classes and nobility.
For example, the industriousness and kindness of ordinary people and the exhortation of their godson in The Third Mother's Godson, the trivial humor in Zhang Lian Buying Cloth and Zhang Lian's sudden return to human nature are all singing for ordinary people and making art for real human nature.
In Jiao Xun's "Talking about Planting Flowers", he said: "The joy of building martial arts is complicated, and although it is extremely harmonious, the listeners are all at a loss when they don't see this article." This is the reason why Kunqu Opera is divorced from the masses and its elegant language has been shelved.
From this, it is not difficult to see the aesthetic orientation of Shaanxi opera as the leader of the flower department. She is neither supercilious nor supercilious, giving equal value guidance to everyone and every life, and making the same artistic observation to every social consciousness and every aesthetic emotion.
This kind of opera art, which is deeply integrated with the people and conforms to the social trend at that time, is reflected in the value orientation of civilized Qin people in recent years, that is, humanism and humanitarian feelings.
Second, the Shaanxi Opera is the * * * sound and cry of Qin people's life consciousness in various terrains.
The straightforward, tragic, passionate and tragic artistic character of Qin Opera cannot be perfectly nurtured in a place like Qin. Only in the Loess Plateau can it be found. The northern part is criss-crossed with ravines and the terrain is broken, with Guanzhong Plain and Weihe River in the middle, and the terrain is flat and fertile.
In the south, Qinba Mountain stands tall and steep, and the Han River and Danjiang River pass through the territory. The diverse and complex Qin land can take root and blossom everywhere by relying on alluvial beaded mountain basins of different sizes and fertility. This atmospheric and complex terrain of Qin naturally endows this ancient art with unique charm of dialectical harmony.
Shaanxi Opera is a way of life for industrious and simple people in Qin area to vent their depression and self-motivation. The northern part is located in the frontier fortress, with dry and gully terrain, yellow sand and flat terrain in the central part, but it often suffers from war.
"Qin Ershi died, followed by the Chu-Han dispute, and Guanzhong was one of the main battlefields, which led to the flight of people everywhere and a sharp drop in population." First, the art of roaring out of the Shaanxi Opera just touched the sensitive nerve of their life consciousness and became their spiritual food after rough eating.
The unity and harmony of aesthetic enjoyment of Qin people with different terrains are well realized, and emotional unconscious singing is produced. For example, in the famous drama Orphan of Zhao, loyalty and treachery are two different ways. Whip is used to answer violence and virtue, and loyalty and forgiveness are used to calm down their contradictory and complicated feelings and life frustration in the hard struggle environment. The tragic feeling of hating Chen Lian Qin in My Beauty Case touched the whole.
Qin's deep and strong inner feelings, as well as his lightness and naturalness to this diverse terrain, have produced many personalized aesthetic songs. "The emotions inspired by contemporary readers from contemporary works of art are inseparable from the flow of history and the psychological accumulation of national culture. The works of past dynasties can arouse the sense of * * * of later readers, which is the embodiment of national feelings or the connection between * * * and human feelings. " This fully shows the intuition and naturalness of the two-way emotional flow between people and Shaanxi opera actors in many regions, and the inheritance and continuous sublation of Shaanxi opera art are finally fixed in a relatively mature artistic norm.
The temperament of Shaanxi Opera has both the bold and unconstrained atmosphere in the north and the simple and delicate spirit in the south. She can roar out the solemnity of the soul gathering of the king of Qinchuan in 800 miles, and the tragic sound of the yellow sand is filled with the piercing gunshot and desolation, singing the true nature of Qinba landscape.
At the same time, the art of Shaanxi Opera has correspondingly integrated and reflected the social atmosphere in different regions. "People in northern Shaanxi advocate force and perseverance, people in Guanzhong are simple and honest, and people in southern Shaanxi are brave and tenacious, which is called' honest and frank' in history."
This makes the art of Shaanxi Opera achieve aesthetic consistency in different regions, and can also fully satisfy people's aesthetic enjoyment in this diverse terrain, which is finally manifested in the * * * sound of people's life consciousness in the opera art in different regions and the cold cry for survival through piano control.
Thirdly, Shaanxi Opera is a harmonious and dialectical opera art in complex dialects.
Shaanxi Opera can blossom everywhere in Qin area, which is also inseparable from the numerous dialects in Qin area. "Because any kind of vocal cavity spreads from its birthplace to another place, it often evolves with new dialects and musical elements, resulting in a new genre of vocal cavity."
Shaanxi Opera is a popular drama in Qin area, but in different dialect areas such as Guanzhong and southern Shaanxi, there are five different schools of Shaanxi Opera: West Road, East Road, North Road, Middle Road and South Road. "Although the voice was attacked, it was only that people close to the local area changed little."
Although it is in a relatively independent dialect area, it is completely in the internal harmonious art of piano control. In addition, they can also dialectically reflect the complete artistic charm of Shaanxi opera and the unique pursuit of neutralization in many characteristics of different dialect schools.
She is interpreting the spirituality of the whole Qin Opera art with complex internal dialects. No matter whether it is a metaphysical, dialectical and harmonious local art, whether it is a gentle and delicate East Road Qin Opera and West Road Qin Opera, or a China Qin Opera that is good at "generous and sad tune" or a "rough and bold, magnificent" Middle Road Qin Opera, it has been influenced by local dialects.
However, in the aesthetic pursuit of Qin opera, the two tend to be harmonious. The artistic feature of the integration of multi-dialects in Shaanxi Opera is embodied in the artistic law of traditional operas in China, which naturally conforms to the so-called "impossible law, which is the supreme law"
In this regard, Mr. Du Shuying explained: Art has rules but no patterns. Once there is a fixed model, India and the United States' rich, diverse and unrepeatable experiences and artistic creation activities will be modeled, and then "living law" will become "dead law" and art will not exist.
In a sense, the "impossibility rule" is the real art supremacy rule. However, Shaanxi Opera can develop different modes in complex and diverse dialect areas, and we can't help but affirm its natural artistic value.
From this point of view, the regional differences between Qin and Mu dialects and the harmony in artistic pursuit are the important reasons for the unique significance of Qin opera art. As a local art, she is different from this local art. Because she is a collective reflection of people's value orientation in different dialect systems, this artistic image with great differences and similarities is not common.
Although Qin has been evolving with history, whether it is customs, beliefs or the most obvious language, the Yellow River civilization, which has been flowing for thousands of years, has inherited the cultural identity and the principle of * * * concentricity of Qin for thousands of years, but in the face of the complex reality of this language, it can make them unconsciously tend to the same aesthetic.
Shaanxi opera is the aesthetic expectation that people are interpreting in different dialects, and it is a dialectical and harmonious opera art spread in many dialects.
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