Hu Chang Fortune Teller _ Who is the Hu Chang Fortune Teller?

As the saying goes, Mianyang dialect can be subdivided into four parts.

1. Xian (Tao) Peng (Tian) Sha (Lake) piece: It is bounded by Xiashi, Sanfutan Town, and includes Hu Chang, Sanban, Pengchang, Hu Sha, yanglinwei and other towns to the east; North to the Han River; South of Wohe River, Zhanggou River and Dongjing River; The northeast intersects with Changchongkou and Liuxi River. It covers an area of about 720 square kilometers and has a population of nearly 600,000. It can be said that it is a representative film of Mianyang dialect.

Second, Chen (field) Mao (mouth) Zheng (field) film: Sanfutan in the west and Tianmen in the Han River in the north; West to Qianjiang; To the south, Dongjing River faces Jianli; East to Haikou and Hu Chang. Including Zhengchang, Maozui, Weihe, Chen Chang and Sanfutan. It covers an area of more than 690 square kilometers and has a population of more than 400,000. The characteristic is that there are only four tones: flat tone, rising tone, rising tone and falling tone, and there is no entering tone, which is closer to the mainstream of southwest mandarin.

Third, Mian (city) Tong (Haikou) Guo (river) Zhang (ditch) piece: adjacent to Xianpeng sand piece in the east and north; West to Chen Chang; Arrive at Dongjing River in the south and confront Jianli and Honghu. It covers an area of about 570 square kilometers and has a population of about 300,000. With Miancheng dialect as the representative, there are obvious traces of Beijing dialect.

According to "mian yang County Records", during the Ming and Qing Dynasties, there were nearly 100 scholars in Miancheng, and their fame rose. Most of them are officials in Beijing, some hold important positions, and some are teachers of the emperor. After Manchu entered the customs, Manchu Mandarin was designated as the national language. These Beijing officials and their families have lived in Beijing for a long time, constantly going back and forth between their hometown and Beijing, and unconsciously bringing some northern mandarin back to Miancheng. At the end of the Qing Dynasty and the beginning of the Republic of China, there were many scholars who had studied in Miancheng, such as Su Daoheng and Wu Nanxun. They studied and worked in other places, went home to visit relatives and friends, and gave lectures, which also contributed to the changes of Miancheng dialect.

The fourth is the western long film: east of Changchongkou and south of Wangchang area; North to the Han River; Looking east at Hanchuan Hanyang sector area. That is, some areas of Xiliu River and Changchongkou. It covers an area of about 4 16 square kilometers and has a population of more than 200,000.

Dialect is a living fossil of culture. There is a saying in the middle and lower reaches of the Yangtze River called "ten miles of different sounds", which vividly depicts the complexity and diversity of Chinese dialects. People who are away from home can confirm who their hometown is through dialects. When a fellow villager meets a fellow villager, his eyes are full of tears, and his lingering homesickness is aroused by the distinctive local accent. When the strong local accent echoed in our ears, we clearly realized where we came from and where we were going.

Dialect is not only reflected in daily life, but also in the artistic fields such as drama and quyi. It has been recorded and circulated. There are two kinds of dramas in Mianyang: Mianyang Huagu Opera and Mianyang Shadow Play. Quyi mainly includes Mianyang Xiaoqu, Mianyang Fishing Drum, Sanbang Drum and Mianyang Folk Songs. Various artistic forms and humorous local sounds have brought a lot of fun to the audience. So there is a saying that the meaning of drama and entertainment varies from place to place. Whether it is a local original or a transplanted literary script, it is full of strong local flavor only if it is performed in local dialects.

For example, in Miyang's ditty "Qiu Jiang Drives Pan", there is such a rhyme whiteboard:

Autumn river, a boat, eyah freedom, eyah freedom, with gold nets on both sides and a fish hook in the middle. Hook, hook, no shrimp, no loach, as thick as an eel and a silver carp playing drums.

The words "so rough" and "drumming" in rhyme are vivid and humorous.

For another example, Biyang folk song "Little Son-in-law" is a national famous funny song with distinctive Biyang characteristics.

The crow's son suddenly stopped. The son-in-law of the old man's son-in-law was so big that my mother's son-in-law got stuck.

Speaking of him, he is a big boy, and I chat with him. Oh, my mother, all of them glared and turned green.

Aunt Wang, who lives next door, comes to persuade my family to be two years old every year. My mother is particularly uncomfortable and ignores him.

Standing on the pedal, he is still two feet long. I dragged him to feed the jackal My mother screamed like a ghost.

I slept until the rooster crowed, and he pulled up to pee and got my flower bed wet. My mother, he's so anxious, he's so anxious!

There is also the white in Mianyang's ancient painting drama "The Blind King's Fortune Telling":

Guests don't talk, don't interrupt, listen to me tell a joke today. Speak slang during the day and vernacular at night. Iron axe, wooden handle, every word is true. Once upon a time, there was a fortune teller, and the astrology could not be better than me. He counted the moon in the sky and I counted the fry in the water. He counted monks in the temple and I counted girls in the embroidery room. I, Mr. Wang, am not from here. I come from Husha Mianyang. It has been raining for a long time since I came to this dock. Really eat ice and drink northwest wind. It doesn't seem to rain today. Let me count by hand. It's the third day today. It won't rain if it doesn't cover the sky. I can't help but clean up my huqin, do some business on the street, earn some money and have a good meal!

Mr. Wang's speech was plain, telling the truth, telling fortune is false, and cheating money is true. Are you kidding? It is true that we get full spiritual pleasure in taste. All this comes from the charm of Mianyang dialect.

The graceful ups and downs of Tian Mian's words are just counting "one, two, three", and the interval is quite dull. In recent years, two new works in Hubei Province, a large-scale song and dance "Living by the Yangtze River" and a modern flower drum drama "Waiting for Lang in December", both have counting paragraphs. The former is counting toads and the latter is counting fish, both in Tianmian dialect, and there are auxiliary words such as "ya", "na" and "ah" embedded between the numbers, as if they were singing and clapping their hands on the board: "Seven!

Counting Toads is an ancient folk song in Jianghan Plain. I don't know whether the number of folk songs is earlier or later than that of Wang Blindman, or whether great minds think alike. Singers and folk artists who sing operas have discovered the fun of local dialects. "Living by the Yangtze River" and "Waiting for Lang in December" are all female voices counting, "one two three two one". The girl's voice is clear and transparent, as beautiful as singing and as funny as a game, which brings the musicality of Mianyang dialect to the extreme.