What are the implications of the operas in A Dream of Red Mansions?

In the 18th round of A Dream of Red Mansions, Yuan Chun personally ordered four plays: Feast on Luxury, Begging for the Soul,

What are the implications of the operas in A Dream of Red Mansions?

In the 18th round of A Dream of Red Mansions, Yuan Chun personally ordered four plays: Feast on Luxury, Begging for the Soul, Fairy Fate and Leaving the Soul. Yan Hao is a folded snow in Li Yu's works. Li Yu was a great playwright in the late Ming and early Qing Dynasties. His "A handful of snow" is an attack on Yan Song's father and son who are "as rich as an enemy and as strong as force". Begging for the Spirit is a folded version of the Palace of Eternal Life written by Hong Sheng, a great playwright in the early Qing Dynasty. The creation of the Palace of Eternal Life lasted for ten years and was finally completed in the twenty-seventh year of Kangxi. Yuan Xian is from Tang Xianzu's Handan Ji. Away from the Soul is from the Peony Pavilion by Tang Xianzu. Tang Xianzu (1550- 16 16) is a famous dramatist in Ming Dynasty, and he is known as "Linchuan Four Dreams" in the literary world. Among them, Peony Pavilion is world-renowned and a romantic masterpiece in the history of China opera. Also in the 18th episode of A Dream of Red Mansions, Jia Qiang ordered Lingguan to write "The Garden" and "The Dream of Scaring", and Lingguan insisted on singing "Meet" and "Scold". "Garden" and "Surprised Dream" are from the tenth poem "Surprised Dream" of Tang Xianzu's Peony Pavilion; "Meet" and "Scold" are from the eighth and thirteenth editions of Chai Tou Ji written by Yue Xie, a playwright in Ming Dynasty. Chai Tou Ji is an old edition of the Ming Dynasty. The author signed the owner of the Moon Pavilion, but his real name is unknown. Said the author is Wang Yufeng, Ming dynasty, birth and death year is unknown.

At that time, Jia Qiang was waiting impatiently downstairs with twelve female performers when a eunuch flew in and said, "Finish writing the poem and get the performers!" " Jia Qiang urgently presented the brocade book and twelve flower names. "。 When I was a child, the eunuch came out and ordered only four plays:

The first "grand banquet"; Chen Geng's double-barreled criticism: The Fu family was defeated in a handful of snow.

The second is "Jojo"; Death in Fushou Palace.

The third part "Xian Yuan"; Chen Geng's double-barreled criticism: Zhen Baoyu sent jade in Handan dream.

The fourth is "far from the soul". Chen Geng's Double-barrel Criticism: Fu Daiyu died in the Peony Pavilion. The play focuses on four things, which are the highlight and key of the book.

A Dream of Red Mansions was performed in the 19th New Year in Dongfu, and four repertoires were sung, namely, Ding Lang searching for his father, Huang Boying posing a ghost array, Sun Walker making trouble in heaven, and Jiang Taigong beheading the general to seal the gods. "Shure ghosts and gods out, suddenly there is magic dew, even with a standard, Buddha incense overflowing, far heard the sound of gongs and drums. These four plays are all Yiyang operas, and the authors have no test. It can be found in the records of Yiyang Opera in Ming Dynasty, all of which are court operas in the early Qing Dynasty. Yiyang Opera originated from the Southern Opera in Yiyang, Jiangxi at the end of Yuan Dynasty, and spread to Beijing and other places from the early Ming Dynasty to Jiajing. Most of the actors come from Jingnan, Levin and Lixian, and they are also called "Levin Opera" or gaoqiang for short. It is dominated by golden drums, which are popular, rough and lively, but inevitably noisy and noisy. Some operas are absurd and not enough for literati to watch, but they are more suitable for low-level tastes.

In the 22nd episode of A Dream of Red Mansions, Baochai plays Journey to the West on her birthday, and Xifeng plays Liu Er as her aunt. This is not a script adapted from Wu Cheng'en's novel The Journey to the West, but a 10% discount on the journey to the west in Four Travels. See "Dress in white". The Kunqu Opera "Fat Gu Learn Tongue" is basically the same as the second book "Village Gu Yan" of Journey to the West. In the play, Tang Sanzang, a Buddhist, was sent to Chang 'an in the Western Heaven to learn from the scriptures. He lives outside the city and goes to see the social fire with the fat aunt and Zhuang Wanger in the village. When he got home, he happily told his grandfather about the lively scene he saw. Liu Erdang's clothes ordered by Xifeng are also called knocking, with Yiyang accent, and Liu's debts and thirteen notes. The full name of "The Story of the Belt" is "The Story of the Fragrant Hills in Peidu", which was written by Shen Cai in Ming Dynasty, and has a printed version of "Shidetang" in Wanli period of Ming Dynasty.

In the 22nd episode of A Dream of Red Mansions, Baochai read a passage of "Parasitic Grass" to Baoyu, and Daiyu mocked Baoyu for his "makeup mania". Parasitic Grass was written by Yuan Qiu in the late Ming and early Qing Dynasties. Collection of Bai Qiu. Yuan Qiu, born in Changshu, Jiangsu. His date of birth and death is unknown. Contemporary with Wang Yuyang, a dramatist in Kangxi period in the early Qing Dynasty. Makeup maniacs, also known as "northern cheaters", first appeared in Yuan Dynasty's zaju, which was a discount of Andy's zaju "Heroes Banquet Respecting Virtue and Keeping the Year". The Ming Dynasty was adapted into a legend called The Golden Ferret. The adapter is unknown. Wanli has a copy of Jinling Fuchun.

In A Dream of Red Mansions, The Romance of the West Chamber has the highest frequency, with Bao Dai reading The Romance of the West Chamber in the 23rd, Baoyu, Daiyu, Baochai, Tanchun, Xing Xiuyan, Qingwen and Sheyue saying The Romance of the West Chamber in the 35th, 40th, 42nd, 49th, 54th, 58th, 62nd and 63rd chapters. However, in the fifty-fourth episode, what Jia Mu said about "Listening to the Qin in the West Chamber" refers to the Kunqu Opera "The South West Chamber" adapted by Li Rihua in the Ming Dynasty. Whether the author of Nanxixiang is Cui has always been controversial.

In A Dream of Red Mansions, The Peony Pavilion and The Romance of the West Chamber have the same frequency. The Peony Pavilion has appeared in the eleventh, eighteenth, twenty-third, thirty-sixth, fortieth, fifty-first and fifty-fourth chapters of the book, involving eight plays, such as visiting the garden, dreaming, portrait, leaving the soul, picking up paintings, reviving the soul and driving around. As mentioned above, The Peony Pavilion is the work of Tang Xianzu in the Ming Dynasty, so I won't repeat it here.

In A Dream of Red Mansions, there are scenes such as white snake, full bed and twenty-nine dreams before. Legend of the White Snake is a traditional drama with a long history, and its author is unknown. Full Bed was written by Fan Xizhe, a playwright in the early Qing Dynasty. Fan Xizhe was a dramatist in Qing Dynasty. He is a self-styled Buddhist with four wishes, a master of Gan Song and a monk, a master of Su Min in the West Lake, a Taoist in a fish basket, a master of Buddhism, and a master of Zhai, an incomprehensible person. He was born in Qiantang, Zhejiang (now Hangzhou). Life story is unknown. Li Yu is a contemporary and has a close relationship with him. His works include Legend of Wanquan, Double Hammer and Ten Vinegars. Conan Dream is one of the Four Dreams of Linchuan written by Tang Xianzu in Ming Dynasty.

In the thirtieth chapter of A Dream of Red Mansions, Baochai satirized Baoyu for "offering a humble apology", which was a Yuan drama, and the author had no test. The Story of Pipa and Eating Bran, which appeared in the 42nd time, were written by Gao Ming at the end of Yuan Dynasty and the beginning of Ming Dynasty. Pipa Story is a work with high achievement and great influence at the end of Yuan Dynasty. Gaoming (1305- 1359), with sincere words, has done operas besides pipa, including Min Zikai's "Single Clothes", which has been lost. Poetry and prose have been collected by close friends, and there are still more than 50 articles.

Ji was mentioned in the forty-third and forty-fourth chapters of A Dream of Red Mansions. The Story of Chai Jing is a drama in Yuan and Ming Dynasties, written by an anonymous writer. Still yuan, unknown origin. Only in the Catalogue of Ancient and Modern Sanqu Legends before the volume of Hanshantang Qupu by Zhang Dafu in the early Qing Dynasty, under the title of Chai Jingji, the author was indicated as "Ke Danqiu, a Wu Pai Scholar". Therefore, Ke is from Suzhou, probably a professional playwright in the book club.

The fifty-third banquet in A Dream of Red Mansions sang "Love of Chu River in the West Building", which was written by Yuan Yuling in the late Ming and early Qing Dynasties. Yuan Yuling (1592 ~ 1670) was a drama writer in the late Ming and early Qing dynasties. Formerly known as Jin, it was later renamed Yuling, with the word "Fu Gong", "You An" and "Ting". There are nine kinds of legends, collectively known as Ge Legend. Today, the legend of the West Building and the zaju "The Legend of Two Warblers" have been preserved.

The fifty-fourth chapter of A Dream of Red Mansions, Eight Meanings Watching Lights, comes from the legendary Eight Meanings of Xu Yuan in Ming Dynasty. The mixed box that appeared in the fifty-fourth time was made by Anonymous in the early Qing Dynasty, edited by Zhang Qingzhao, and included in "Persuading the Good and the Golden Branch". The summer tree of Huiming, which appeared in the fifty-fourth session, is the wedge of the northwest chamber. Listen to the Qin dynasty, this just appeared at the same time, produced the south west room. At the same time, Qin Tiao came from the Hosta of Gao Lian in Ming Dynasty. Pan Bizheng, a scholar, lives in Miao Zhen's field of vision, but loves the Taoist Chen Miaochang in his field of vision. The country decided on this scene, forcing Pan to go to Beijing to catch the exam, and Chen chased him to the river to see him off. After Pan finished the exam, he married Chen Tuanyuan. Gao Lian was born in Shenfu, Ruinan, Mingren River (now Hangzhou) and is famous for his traditional operas.

The story of Hou Yi mentioned in the fifty-fourth chapter of A Dream of Red Mansions should refer to the story of Cao Xu Pipaxing. In the early Qing Dynasty, Liu wrote an article in Garden Magazine, which recorded a kind of "continued pipa" (also called "post-pipa"), which proved that the previous "pipa" did not pass the test, so the inscription said: "Pipa is not that pipa, but it is related to weathering". Cao Yin was a native of the early Qing Dynasty, and he studied Redology very carefully. Recently, some scholars said that the story of continuing pipa was a legend written by Gao Zongyuan in the middle of Qing Dynasty. Gao Zongyuan, whose name, address and date of birth and death are unknown, lived about 50 years (1785) when Gao Zonglong lived in Qing Dynasty. Gong Qu, the legendary author of Pipa Xing, is adapted from Qu Hua of Teng Hua Ting, which is devoted to Cai Yong's grievances. However, Gao's Pipa Xing came out later than A Dream of Red Mansions and could not be written into the book.

In the sixty-third session of A Dream of Red Mansions, Fang Guan sang Shoushang, which was based on the Eight Immortals' birthday drama Shanhuazi, which was adapted from Su Wu Mu Yang Ji in Yuan and Ming Dynasties. Performed in the Ming Dynasty, the author is unknown. At the same time, Guan sang "Sweeping Flowers" from Tang Xianzu's "Handan Ji" in the Ming Dynasty, which is not superfluous. As for the plays that appeared in the last forty chapters of A Dream of Red Mansions, because they are sequels of later generations, they cannot represent the creative era of A Dream of Red Mansions, so this article does not intend to cover them.

First of all, we made a comprehensive textual research on the drama in A Dream of Red Mansions from genre to repertoire. Based on the above research results, we should be able to draw the following conclusions:

First, from the time point of view, all the plays in A Dream of Red Mansions are Yuan Zaju, legends or operas in the early Ming Dynasty, and the latest play is the Palace of Eternal Life, which was completed in the 27th year of Kangxi. In other words, the dramas involved in A Dream of Red Mansions are popular dramas before the middle period of Kangxi, and the dramas after the middle and late period of the twenty-seventh year of Kangxi and the Qianlong period of Yongzheng are not disclosed in the book.

Secondly, judging from the drama repertoire, all the dramas in A Dream of Red Mansions belong to the popular Kunqu Opera, Yiyang Opera and Northern Zaju in the early Qing Dynasty. Most of the dramas are romantic dramas, belonging to various dramas in Ya Bu. There are absolutely no kinds of calico dramas that emerged in the middle of Qing Dynasty, and there are few loyalty and chastity dramas that prevailed in the middle of Qing Dynasty.

Third, Dream of Red Mansions often proves the copyright of Cao Xueqin's Dream of Red Mansions with Cao Yin's pipa, which doesn't make sense. Cao Yin wrote many kinds of legendary dramas in his life, all of which were popular in the early Qing Dynasty, and anyone can write them in the early Qing books. Cao Xueqin was born after Cao Yin's death and grew up in the middle of Qianlong, when the drama was out of date. When we look at the plays in A Dream of Red Mansions, we should look at them comprehensively, but we can't talk about a play in isolation.

Fourthly, there is a very unique phenomenon that must attract the attention of academic circles. There are many times in A Dream of Red Mansions, but there is no shadow of the Peach Blossom Fan. The Palace of Eternal Life and Peach Blossom Fan are the two most popular legendary dramas in the early Qing Dynasty. Their authors are equally famous, and people call them "South Red and North Sky". The breadth and depth of the social influence of the peach blossom fan at that time were not reflected in A Dream of Red Mansions, which was abnormal. In addition, the ideological content of Peach Blossom Fan is closely related to A Dream of Red Mansions, so it is very strange that the author of A Dream of Red Mansions does not quote Peach Blossom Fan.

The only reason that can be explained is that Peach Blossom Fan has not been published during the creation of A Dream of Red Mansions, and the author cannot quote it. Confucius wrote Peach Blossom Fan in the thirty-eighth year of Kangxi, so A Dream of Red Mansions should be written before the thirty-eighth year of Kangxi. The creation of the Palace of Eternal Life, which appeared in A Dream of Red Mansions, was completed in the twenty-seventh year of Kangxi, indicating that the creation of A Dream of Red Mansions was between the twenty-seventh and thirty-eighth years of Kangxi.

Fifth, the author of A Dream of Red Mansions should be a scholar who is very familiar with the legendary zaju popular in the early Qing Dynasty. There is no evidence that Cao Xueqin could do this in the middle of Qing Dynasty. In other words, the author of A Dream of Red Mansions should be in the early Qing Dynasty, not Cao Xueqin in the middle Qing Dynasty. If the author of A Dream of Red Mansions is Cao Xueqin, there is no reason why he doesn't even write the drama of the era he lives in. The author researches that the author of A Dream of Red Mansions is Hong Sheng, a great dramatist in the early Qing Dynasty. The mythical structure, characters and plot of A Dream of Red Mansions are closely related to the Palace of Eternal Life.