During the Tianbao period of the Tang Dynasty, john young and Lu Sheng went to Beijing to catch the exam and went to a monk's house to listen to the monk's lecture, so they fell asleep: a cherry basket in Tsing Yi accompanied them to the aunt's house, and because of their association with dignitaries, they got a beautiful wife and won the top prize, which was highly treated by senior officials. In the meantime, there are three ups and downs, far from yelang, human feelings are warm and cold, and the world is cold. After waking up, Lu Sheng refused to be an official, disappeared from the world, and visited the Tao to seek God.
The works of this drama are related to the author's professional experience. The main purpose is to clarify that "life is like a dream, from princes to officials and scholars, dreamers; Mountains and rivers, gardens, towers, a dream scene; The nobles are ups and downs, the fortunes are short, and the dreams are also "("Kaizong ").
Qi Biaojia's Yuan Shan Tang Qu Pin has a high evaluation of this drama: "Cold, parting like waves, untouchable, it's little MengMeng. This is also the beauty of Handan. In this note, Mr. Wang fully vented his brave words, but his talents and feelings were arrogant. Because it obeys the law, it is actually ancient. " However, the summary of Quhai Catalogue (Volume 6) thinks that this drama is "very interesting in management, but the clues are complicated and chaotic." And then what? Without the voice of peace, it is impossible to catch up with the spectrum of Linchuan's Handan. Wanhe Qing Yin is an anthology of three northern plays, the title of which is The Story of Cherry. ?
Legendary script, written by Chen Ming and 25-year-old Jiao Zi. Two episodes of "Ancient Opera Series" were photocopied according to the original version of Chen Wanli. The title of the first volume of the script is "Re-editing Zhejiang Xuan", and the author's postscript at the end of the volume is: "There are additions and deletions to Mr. Li Bohua's old draft in Shandong. Where there are 204 branches of songs, quotations and endings, there are 74 revisers, 120 writers. " According to the postscript, the play was adapted by Chen from Li Kaixian's The Sword.
Fifty-two Diseases Sword is based on the story of Lin Chong being driven to Liangshan in Water Margin, but the story of Lin Chong being driven to Dan Liang is quite different from Water Margin.
Lin Chong made contributions to Fang La, took charge of the West, participated in Tong Guan, impeached Gao Qiu, dared to argue with the yes-men, and was persecuted by Gao Qiu.
Chen's script describing Lin Chong's forced death is close to the original appearance of Water Margin. In The Legend of the Sword and the Chivalrous Man, it is written that the court took the initiative to woo, while Chen used the original plot of the Water Margin to woo, that is, through the forgiveness obtained by the famous prostitute Li Shishi, Lin Chong and Lu who opposed the woo in the Water Margin were written as positive requests for mercy.
The title of the play "Treasure Island" is that Gao Qiu asked Lin Chong to make a living in Baihutang in the name of meeting Bao Dao, and was trapped in Baihutang because of trespassing. Although Chen's play was written because he was dissatisfied with Li Kaixian's Sword, as the sixth volume of the Quhai General Catalogue said, "It is still used in Liyuan to rush to Liangshan at night, and critics of Yuefu don't know that there is a" sword ".
There is a 10% discount on the script written by He Jiao. There is a Ming Sheng Zaju.
Cai Wenji was an ancient poetess in China and a famous scholar in the Eastern Han Dynasty, Cai Yong. According to "Biography of the Wife of Dong Si in the Later Han Dynasty", after Cai Yong's death, Wenxi was exiled to the left of the southern Xiongnu in the war, and in the twelfth year of Huzhong, she gave birth to two sons. During the Jian 'an period, Cao Cao was deeply saddened by the death of his old friend Cai Yong. He sent an envoy to redeem Moon Hee from Xiongnu with Jinbi, and then married Dongsi.
Chen's "Moon Hee Entering the Village" is the earliest existing drama of Moon Hee entering the village, which begins with the Yellow Gate welcoming Moon Hee into the Han Dynasty and ends with Moon Hee entering the village. The play focuses on Wenxi's mixed feelings when she learned that Cao Cao had sent envoys to redeem her when she returned to Han-born in Xiongnu, it is a great event to live in the old country now; But the separation of flesh and blood, never seeing each other again, is of course infinite grief.
Plays with this theme include Jin's Yuan zaju "Cai Yan Return to the DPRK" and "Legend of Hu Jianji", which are the quintessence of Ming and Huang Dynasties. In addition, Chen's "The Story of Zhao Jun's Embankment" is a 10% set in the north and south, and Wen Xi's "The Story of the South Canal's Embankment" is his companion. Qi Biaojia's Yuan Shantang Drama said: "This" Into the Castle "is worthy of Zhao Jun's" Out of the Castle ".
There is a 10% discount on the script written by He Jiao. There is a Ming Sheng Zaju.
The historical facts about Zhaojun's departure from the fortress can be found in Yuan Di and The Story of Xiongnu in Hanshu, but the folklore is quite different from the historical facts.
The legend of Zhaojun began to spread from Ge Hong's Miscellanies of Xijing in the Jin Dynasty: Zhaojun refused to bribe the painter because of his beauty, and his portrait was defaced and sent to the cottage and the model. Emperor Han Yuan discovered that Zhaojun was the first beauty in the harem when he left, and investigated the painter and killed Mao Yanshou and others.
The story of Zhaojun's departure from the fortress was widely circulated after Miscellanies of Xijing. Yuan Zaju's works include Guan Hanqing's Emperor Gaozu Crying for Zhaojun, Wu Changling's jathyapple Leaving Zhaojun and Zhang Shiqi's Leaving the Bunker. All of them have been lost, except Ma Zhiyuan's Broken Lonely Dream and Goose in Qiu Han Palace, whose plots are better than Xijing Miscellanies.
Chen's plays are generally based on Xijing Miscellanies, and occasionally the lyrics are taken from Han Gong Qiu. The play begins with Emperor Zhao Xuanzhao of the Han and Yuan Dynasties going to the temple to see off Xiongnu Khan, and ends with Zhao Jun leaving the fortress.
The whole play takes Zhaojun as the protagonist, trying to rewrite his parting thoughts. Qi Biaojia's "Yuan Shantang Opera" said: "Fei Ming has never acted in Nanqu. As soon as this play came out, she felt infinitely depressed." There are five sentences in Jiao Xun's drama theory: "There have been four dramas about Zhaojun since Yuan and Ming Dynasties ... Only Chen's" Zhaojun's Journey to the Fortress "has a 10% discount, and there is also a book" Xijing Miscellanies ",which neither talks about his death nor his marriage, which is the most wonderful." The play is well edited and the lyrics are good. It is a masterpiece of Chen's plays. Chen once inserted the South-North Double Tone [New Water Order] into Qilindong's seventeenth novel "Laughter Interpretation", which shows that this drama is his masterpiece.
Text | Yun Jian Da Peng
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