Narrate of Southern Ci

The southern opera was discriminated against by the literati at that time, but it was quite active and full of vitality among the people. Xu Wei wrote this book, on the one hand, to fight for its name, but also to fill the gap in the academic field. The author said: "The Northern drama has" Ghost book ", the hospital has" Yuefu miscellaneous records "With the song" Taiping Yuefu ", the record is detailed, only the southern opera no anthology, also does not show its name, to taste cherish . Guest Min was ill and unable to speak, so he recorded the names of the plays and attached them My humble opinion "

As for the origin and flow of the Southern opera, "Narrate of the Southern Ci" believes: "The Southern opera began Song Guangzong In the dynasty, Yongjia people wrote" Zhao Zhennu ", "Wang Kui" two kinds of real head ", and then the author quoted another opinion: "Or cloud: Xuanhe has already started, its prevalence is from the south, the name is' Yongjia drama ', and said 'Uighur voice cough'." These two theories have explained the origin of the southern opera quite clearly. On the development of the southern opera, it is said: "Its song, the song people words and benefit to lane ballads, do not leave the palace tune, so ten doctors rarely pay attention." In the early Yuan dynasty, the northern opera flowed into the South Blowing into the wind The Song Ci ended, and the southern opera also declined. Shun Emperor, and suddenly pro-south and sparse north Hedgehog Hung The language is more despicable, not if the North has a celebrity chant also. Yongjia Gao experienced Ming... Is written in... The Story of Pipa "Snow, with beautiful words, a wash the author of the ugly." There are two points worth noting in this paragraph: First, it is considered that the southern opera is "Song people's words and benefit the alley songs", which affirms the song and the lane lexical At the same time, it affirms the position of "lane ballads" in the formation of southern opera, which is quite in line with the actual situation of the formation of Southern opera; The second is a more general and accurate description of the evolution of the southern opera from the Song Dynasty to the early Ming Dynasty.

In the Narrate of Southern Ci, the author also makes a comprehensive analysis of the characteristics of Southern opera. in Xu Wei It seems that the early South opera was temperament On the "this is no palace tune, also rare rhythm, only take its deformed farmers, city women easy to sing only", affirmed the South opera in the initial period of flexible rhythm. At the same time, the early southern opera "language. humiliate ", to Takazesato "With beautiful words, a wash of the author's ugly." but Southern opera Developed to the early Ming Dynasty, with the "fragrance bag" as the beginning, "to Essay of the Time For the South opera ", "the South opera, Mo very dry today", in this affirmed the South opera in the initial period of the artistic outlook.

With regard to Northern and southern music There is a famous argument in the "Narrate of Southern Ci" : "Listening to Northern music makes people proud and proud drip Enough to make people brave enough to go... The southern opera is delicate and graceful." Xu Wei The high evaluation of the South Opera is closely related to its promotion of "true character". He thinks that the southern opera "has a high place: every sentence is Natural quality Language, no time Manner of writing This is the core of Xu Wei's opera propositions. Wang Jide Once said: "Mr. Good to talk about lyrics, every right character." (" Bending temperament The so-called "true colors" is to be popular and natural, to enter the song with homely language, and to oppose the writing of the song with the "scholar's words and quotes in the language" (" Kunlun Slave inscription "), requiring the unity of "vulgar" and "true" in the creation, which is the main connotation of Xu Wei's "true colors" theory. Xu Wei when fashion in the folk state of Nanqu Four sound cavities The author made an early investigation and evaluation, especially to Kunshan Opera, giving a strong defense, comparing it with the elegant music of Sui and Tang Dynasties, in order to improve the identity of Kunshan Opera. In addition, "Narrate of Southern Ci" in Southern opera The style of Chinese opera temperament The narration on the problem, as well as the evaluation of the southern opera works are also quite The value.

Xu Wei The creation and theoretical research of opera in the late Ming Dynasty promoted the prosperity of opera creation and theory. His creative spirit, yes Tang Xianzu The impact is particularly strong. " Vietnam-China "The composer Wang Jide , Lv Tiancheng , Meng Qingshun And more directly influenced by his creation and theoretical thoughts. Narrate of Southern Ci comprehensively discusses the art of Southern opera. In the four generations of Song, Yuan, Ming and Qing Dynasties, it is the only monograph on the study of Southern opera. Its contribution to the history of Chinese opera theory criticism cannot be underestimated.

"Narrate of Southern Ci" now contains "the Pot Recluse Black bill Book"," Read the series ", "Qu Yuan" and" Collection of classical Chinese opera works "Ben et al. ^[1]

" South Ci narrative notes Is caused by China Drama Press Published in Beijing in January 1989, Xinhua Bookstore Issued by Beijing Publishing House. The book is a commentary and collation of the original book of Narrate of Southern Ci, citing Pang Bo. The book is divided into seven parts: editor's explanation, preface, common examples, preface, narration, Yuan and Song Dynasties. The narration of Narrate of Southern Ci consists of three parts: preface and narration (26), opera terms (15), and the interpretation of vernacular sayings (53).

The "record" of "Narrate of Southern Ci" mainly describes the Song Yuan Dynasty and the early Ming Dynasty Southern opera The play. These plays can be divided into three categories: first, the existing plays; Second, the script has been lost but some lost songs have survived; Third, the script is completely lost and no loose songs remain. included He Zhuo All the comments as well Fu Xihua , Du Yingtao The majority of you gentlemen Notes of collation . ^[2]

Xu Wei (1521-1593), the beginning of the word Wenqing, later changed the length of the text, the number of Tiantianchi mountain man, Qingteng Taoist, Tian Shuiyue, Shanyin (now Shaoxing, Zhejiang Province) people, Ming Dynasty writers, calligrapher and painter.

Xu Wei youth that has the text name, but repeatedly should not give the township test. Early in his life he was governor Hu Zongxian Hired as the shogunate secretary, to assist in the affairs of Japan, repeatedly out of strange ideas. Zong Xian was killed and pretended to be mad out of fear of disaster. After the manslaughter of the second room, sent to prison on death, get a friend to save the release. In his later years, he lived by selling calligraphy and painting, and spent his life with wild and unsuccessful ambition. Xu Wei has made great achievements in poetry, painting, calligraphy, drama and theoretical criticism. He says: "My book is the first, poetry is the second, writing is the second, painting is the second." Throughout his life, he wrote numerous books, including Xu Wenchangji "30 volumes," Yi Draft "24 volumes, miscellaneous operas" Tetrapithecus "," Sing and shout ", drama "South Ci Narrate" and so on.