Southern Opera in Song and Yuan Dynasties and Legends in Ming and Qing Dynasties are a kind of inheritance, but their names are different. Southern Opera in Song and Yuan Dynasties is also called Opera, Nanqu and Nanxiwen. Originated in Wenzhou (also known as Jiaxing), also known as Wenzhou Zaju or Yongjia Zaju. After the establishment of the Ming Dynasty, it continued to develop and replaced the northern zaju, occupying a dominant position on the stage of traditional Chinese opera, and people renamed it Legend. It is played by various vocal cavities.

Before and after the Song and Jin Zaju came into being, folk ditties popular in the south gradually turned into musical dramas. Xu Wei said in "Narrative of Nanci": "Yongjia Zaju is popular, but it is also a ditty in the village. There is no palace tune, no rhythm, just a song that a perverted female farmer can sing. ..... His songs benefit from the lyrics of the Song people and Li Xiang's songs, not the Gongdiao, so scholars pay little attention. " There have always been two theories about the specific time when it came into being. Zhu Yunming of Ming Dynasty believed that it came into being at the end of Northern Song Dynasty. In "Talking about Accusations", he said: "The Southern Opera started in Xuanhe (119-1125), at the time of the southern crossing (1 127). Xu Wei later thought. He said in Narrative of Southern Ci: "Southern Opera began in Song Guangzong Dynasty (1190-1194), and Yongjia people were the first of the two." The time interval between the two versions is more than 70 years, which is the process of the gradual transformation of Southern Opera from a small rural opera to a complete drama form.

At the end of the Northern Song Dynasty, domestic troubles and foreign invasion were quite serious. Wenzhou, located in a corner of Zhejiang, is relatively stable, coupled with various cheap foreign trade ports, so the commercial economy is quite developed and prosperous, and the population is also quite concentrated. In order to meet the needs of the general public, local rural dramas entered the city and grew rapidly. With the southward migration of the Song Dynasty, a large number of northerners poured into Zhejiang, and Zhejiang alone increased by one third. In the early years of the Southern Song Dynasty, there was a relatively stable period, and folk songs and dances and opera performances in villages and towns were more active. Lin 'an (now Hangzhou), the capital of the Southern Song Dynasty, has a relatively developed commercial handicraft industry and a highly concentrated population. As a performance venue, the tiles are all over the city. According to "Old Wulin Story Goulanwazi", there are 23 places in Lin 'an, such as Nanwa, Zhongwa, Beiwa and Qiaopuwazi. There are many goulan in the first tile, and there are thirteen in the north tile alone. At the same time, Lu Qi, who has no fixed performance venue, is running around. In addition, all kinds of geisha from Bianjing also gathered in Lin 'an. All these provide favorable conditions for the development of Southern Opera. After the Yuan Dynasty unified the whole country, many northern zaju writers and artists settled in the south, which further promoted the maturity of Southern Opera. A group of low-level literati and artists who are familiar with literature and ink formed Wulin Bookstore and Gu Hang Bookstore, and wrote scripts for the class club, which pushed the Southern Opera to a new height.

According to relevant records, there were 238 kinds of Yuan Zaju in the Southern Song Dynasty. However, due to the fact that most of them come from the hands of lower-class literati or artists, there are not many printing opportunities, only 17 kinds are left. Among them, only five books have basically kept their original appearance, and twelve books have been revised by later generations. About 130 kinds of songs have only remnants.

Generally speaking, the content of Southern Opera in Song and Yuan Dynasties is mainly works praising love freedom and advocating marriage autonomy. These works criticized the feudal marriage system and showed infinite sympathy for young men and women fighting for marriage autonomy. Because of this, it was not allowed by the feudal society, leaving only the "official children's fault." Secondly, works describing marriage and criticizing men's infidelity also account for a considerable proportion. Zhao Zhennv and Wang Kui, known as the first operas, are all such works, and only the champion of Zhang Xie has been handed down. The leading men in these plays are all poor scholars. Once in high school, he abandoned his wife and even put her to death. These heartbreaking works are either mercilessly criticized or severely retaliated. They have infinite sympathy for persecuted and abandoned women. Third, there were frequent wars in the Song and Yuan Dynasties, many people lost their families and the people suffered great disasters. This is also reflected in the Southern Opera of the Song and Yuan Dynasties. The famous Moon Pavilion, White Rabbit, Chai Jing and Pipa Travel at the end of Yuan Dynasty are all such works. In addition, there are many scripts that describe patriotic heroes and express the struggle between loyal subjects and traitors. Unfortunately, none of them has been handed down.

Southern Opera in the Song and Yuan Dynasties developed greatly in art, and it was more free and flexible in terms of Gongdiao and divertimento. It takes the form of dividing the scene by the upper and lower characters, which shows that the scene of the plot passes by. If you want to focus on portraying characters and showing contradictions and conflicts, it is intentional and you don't hesitate to ask for work. In terms of schedule, there is no limit of 60% off and one wedge, generally around 45% off. There is always an opening or a general idea at the beginning, which introduces the creative intention and summarizes the story. The second scene didn't enter the main scene. The main characters usually appear in the first few games. After the story unfolds, the role of business and hot and cold meetings alternate. Around the main line of Shengdan drama, the gags of net, ugliness and ending are interspersed respectively, so that there are joys in sorrow and sorrows in joy, and the audience will not be bored. In singing, it is not limited to one person's solo, all roles can sing. Music was originally based on local folk songs, some of which were in the style of Song Ci. According to Wang Guowei's textual research on Song and Yuan operas, there are 190 tunes originated from Tang and Song Ci, accounting for one third of the total number of southern operas. The melodic forms and lyric formats of these songs vary widely, and the styles and tastes of the tunes are also eclectic, which are suitable for expressing the thoughts and feelings of various characters. In addition, there are musical elements such as Daqu, Zhugongdiao and aria. The tone of the southern opera is consistent with the pronunciation of the south. Mainly composed of five scales, the rhythm is slow to fast, soothing and euphemistic. The application of the combination of North and South combines the music of Nanqu and Beiqu, which is more expressive. In terms of performance, on the basis of folk songs and dances, it absorbed the cross talk performance of Song Zaju, which was very dramatic and comprehensive. The role industry has also developed into seven kinds: fate, Dan, clean, ugly, foreign, extreme and paste. Cleanliness and ugliness are comedy characters, which are in sharp contrast with drama characters such as Sheng and Dan. In the stage art, the use of various artistic means has begun to take shape, and the stage handling of time and space changes has also made new development. It can be said that it basically laid the foundation of China opera art.

In Song and Yuan Dynasties 17 southern operas, Yueting and Pipa have the highest artistic achievements and the greatest influence on later generations.

Moon Pavilion is also called You Gui Ji. Zhai Cong's Theory of Four Friends written by He in Ming Dynasty is regarded as "written by Shi Junmei in Yuan Dynasty". According to Cao Lianting's "Ghost Book", "Shi Huizi is beautiful, from Hangzhou. He lives in front of Wu Shan City God Temple and takes Jia as his career. The male giant has a beautiful beard and is good at joking. ..... poetry and wine, but lyrics and songs. " Zhong Sicheng wrote a condolence message for him in "Ghost Record Book": "The Taoist heart is clean and dust-free, harmony has its own spring, and Wu Shan is full of romance. Every word is new, but my thoughts about you have stopped. Three dreams are a hundred years old, and in the end, the grass is destroyed. " Didn't say that he wrote the Moon Pavilion. The play is adapted from Guan Hanqing's zaju Yue Ting. The story is roughly the same, but there are more characters and more complicated clues. It praises the love established by young men and women in adversity and criticizes feudal parents for being too poor and loving the rich and bullying the weak. At the same time, taking the Jin and Yuan Dynasties as the background, it objectively shows the pain brought by the war to the people. They have their own characteristics in characterization, drama and language. The author has a deep understanding of the inner world of girls in feudal times, so he can write vivid and wonderful characters' personality characteristics in the development of the plot. The conflict in the whole play is sharp and dramatic. The language is simple, vivid and easy to understand. Because of the above advantages, movies like Walking in the Rain to Admit Your Mistake (also called grabbing an umbrella and stepping on an umbrella), Businessman Married and Maid Yue Bai have only been staged for hundreds of years. Many local operas in the Qing Dynasty also adapted the whole book and put it on the stage.

The Story of Pipa is written by Gao Ming (about1305-1370) with clear pronunciation and mellow voice. Zhejiang Ruian. Known as Mr. Yongjia. In the fifth year of Yuan Dynasty (1345), he was a scholar, and successively served as the secretariat of Chuzhou, the judge of Shaoxing Prefecture, the official of Jiangnan and the official of Fujian. At the end of the Yuan Dynasty, Fang Guozhen rebelled in the south of the Yangtze River. After accepting the complaint, he wanted to be hired as a staff officer, so he resigned. After living in seclusion in Ningbo East Oak Society, he devoted himself to writing pipa. When the Ming Dynasty was founded, he was invited to participate in the writing of Yuan history, but he could not avoid the custom because of his advanced age. He died at home. The Story of Pipa mainly tells the joys and sorrows of Cai and Zhao Wuniang. This story became popular among the people very early. Lu You in the Southern Song Dynasty wrote in the poem "The boat goes near the village and the boat goes back": "The setting sun is in ancient Liu Cun, and the drum is blind. Whoever is in charge behind him, the whole village listens to Cai Zhonglang. " There is also a play in the Southern Song Dynasty called Cai Erlang, Zhao Zhen's Daughter, which depicts Cai Bo betraying his wife and being struck by lightning. Gaoming adapted Pipa on the basis of these folk rap and operas. Gao Ming advocated feudal education and thought that drama "has nothing to do with wind and frost, but makes it good and useless" (the beginning of Pipa Xing, the second end). The author's purpose in writing Pipa Story is to advocate the ethical concept of "filial piety and good wife" subjectively. However, the experiences of Zhao Wuniang, his father-in-law, his in-laws and others objectively reflected the miserable life of ordinary people in Yuan Dynasty. At the same time, the arrogance of powerful people and the corruption of lower-level officials are also exposed to some extent. The artistic achievement of pipa is quite high. In the plot arrangement, the author wrote the splendor of the Prime Minister's mansion and the hunger and cold of the Chua family with strong contrast, which left a deep impression on readers. In the use of language, according to the specific environment and the identity of the characters, taste both refined and popular, colloquial. "Qin v. Lotus Pond" was written by the daughter-in-law of the Xiang government and Miss Niu who played the piano on the lotus pond. The song is white and elegant, meaning pun, which fully shows the psychological state of the two characters who are uneasy and testing each other. "Slag Self-loathing" describes Zhao Wuniang and her parents-in-law who are starving to death, and adopts popular language and line drawing techniques. This is very consistent with the environment and character identity at that time. It has a greater influence on later generations than the Moon Pavilion. Hundred Autumn, an anthology of Qing opera, contains 70% to 60% discount, which is the most compared with other legends of southern opera. On the way, eat chaff, sweep the book of Panasonic, etc. There are also wonderful fragments of pipa in local operas.

Legends in Ming Dynasty were developed on the basis of Southern Opera and Zaju in Song and Yuan Dynasties. Script, performance and singing have all reached a new peak.

In the early Ming dynasty, legends were not prosperous. There are two reasons. First, in order to consolidate the political power, Zhu Yuanzhang and his son clearly stipulated in Daming Law: "All musicians are not allowed to perform zaju and opera, and they are not allowed to dress up as emperors and queens, loyal ministers and martyrs, sages and sages, and offenders will be punished with a hundred sticks." The second is to introduce intellectuals into official career by using stereotyped writing system at the same time. This has seriously restricted the creation of legends. After the middle of Ming Dynasty, during Jiajing and Wanli years (1522- 16 19), the social economy developed greatly, agriculture, handicrafts and commerce all experienced unprecedented prosperity, and more and more people pursued entertainment. At the same time, with the consolidation of political power and the corruption of officials, the laws made in the past have gradually been forgotten, and the golden hoop worn on the dramatist's head has also been loosened objectively. According to the development law of traditional Chinese opera itself, Yu Yaoqiang, Haiyan, Yiyang, Kunshan and other places, which are dominated by legends, are scrambling to spread in all directions. According to the Record of Nanci, "Today's singers are called Yiyang Tune, but it originated from Jiangxi and is widely used in Beijing, Hunan, Fujian and other places. Those names are Chang, Lian, Chi, Tai and Yang, which are allowed to be used for meeting minutes. Those who call it Haiyan cavity are used by Jia, Hu, Wen and Taiwan. Wei Kunshan cavity ends in Wuzhong. " After the reform of Wei Liangfu and other opera musicians in Jiajing period, Kunshan dialect became beautiful and euphemistic, and gradually spread to the whole country with Suzhou and Taicang as the center. Yiyang opera has evolved into Qingyang, Huizhou and Leping new operas several times in the world. The competitive voice and performance of new works have aroused great interest of scholars, who have been engaged in legendary creation. For the above two reasons, the legend replaced the zaju and occupied the dominant position in the drama world until the end of the Ming Dynasty.

Legendary performances and stage art in the Ming Dynasty have also made brilliant achievements. Judging from the performance occasions, Kunshan and Yiyang dialects are popular in many towns and villages, and they are also frequently performed in palaces, official residences and folk temple fairs. The court performances in the early Ming Dynasty were mainly undertaken by Jiao Fang. During the Wanli period, there were specialized drama institutions such as Sizhai and Yuxi Palace. The performance is grand and luxurious, and sometimes folk class clubs are called to perform in the palace. Some nobles and literati also set up family classes, and they can perform in the hall at any time as long as the host is happy. Compared with Goulan Washe and Luqi in the Song and Yuan Dynasties, both the land and water folk performance stages have made great progress. Musically, different vocal cavities have different characteristics. Kunshan cavity is a collection of northern and southern music, which not only plays the euphemistic melody of southern music, but also absorbs the warm and generous style of northern music. The collocation of all kinds of qupai and the arrangement of games are more standardized. The use of borrowing palace songs is also more extensive. Singing skills are also more exquisite, not only to sing the fun of each song, but also to achieve a personalized and dramatic height. The configuration of accompaniment instruments and the organization of band scenes are also richer and more complete. On the basis of many words and few sounds, Yiyang cavity music has created a rolling tone, which makes up for the shortage of unaccompanied music and enriches the singing form. In performing arts, the division of labor between feet and colors is more detailed. Kunshan dialect has developed from the seven-foot color of southern opera to the "twelve-foot color of rivers and lakes", and each foot color has a complete performance procedure, and the performing arts are more professional. Yiyang Opera has formed its own characteristics by absorbing folk martial arts and acrobatics to perform historical dramas. Artists have played a positive role in promoting the improvement of performing arts. Yan Rong plays Sun in The Orphan of Zhao, which "can make ten thousand people burst into tears" (Li Kaixian's words are funny); Ma Jin plays Yan Song in Biography of Feng Ming (Biography of Ma Ling by Hou Chaozong). This can be seen. In stage art, we attach great importance to clothing, makeup and facial makeup. The costumes of Jianghu Club are divided into four boxes: clothes, helmets, miscellaneous items and handles. The class clubs of bureaucrats and wealthy businessmen are even more luxurious and beautiful. Clean and ugly facial makeup is more diverse and more in line with the characteristics of the role.

Generally speaking, the legends of the Ming Dynasty can be roughly divided into two stages. The first stage is the early Ming Dynasty (from Hongwu to Zhengde, namely 1368- 152 1). During this period, many writers were still engaged in the creation of zaju, and there were more than 100 kinds of legends alone. In the early Ming Dynasty, Zhu Yuanzhang compared the pipa with the Five Classics and Four Books, and greatly appreciated the concept of loyalty and filial piety advocated by him. He believes that "one bean is indispensable" (Xu Fuzhuo's Qu Lun). Under the domination of this idea, some court ministers, scholars and celebrities rushed to follow suit. For example, Qiu Zhuo's "five ethics are all prepared for loyalty and filial piety", which is very ethical to write about the loyalty and filial piety of a brother. Most of these works are adapted from historical stories, Jin-Yuan zaju and Song-Yuan Nanju, lacking the flavor of the times. Only Li Rihua's South West Chamber, Wang Ji's Strange Tales from a Lonely Studio, Su Fuzhi's Golden Seal, Shen Cai's Story of Thousands of Gold, Shao Can's Fragrant Bags and Jin Xue's Embroidery Story have certain influences on later generations. Some of them are still active on the stage of Kunqu Opera. The second stage is the late Ming Dynasty (Jiajing to Chongzhen, that is, 1522- 1644). During this period, Yiyang, Kunshan and other vocals competed with each other, and legendary creation was in full swing. Famous writers include Li Kaixian, Liang Chenyu, Zhang Fengyi, Shen Jing, Tang Xianzu, Tu Long, Mei Dingzuo, Wang Tingne, Zhou Chaojun, Xu Fuzhou, Ling, Feng Menglong, Shen Zijin, Ruan Dacheng and Wu. Compared with the previous works, these works have obvious changes in content. First, some progressive writers boldly describe the love between young men and women, advocate individual liberation, challenge feudal ethics and marriage system, and fiercely attack feudal forces represented by powerful bureaucrats. For example, Burning Incense (about Gui Ying, the wife of Wang Kui who won the top prize in high school), The Jade Hairpin (about the love story between Chen Miaochang and Pan Bizheng), Hongmei (about Li Huiniang's bold pursuit of beautiful love and being killed by Jia Sidao) and Peony Pavilion (about the love story between Liu Mengmei and Du Liniang). Secondly, works that expose social darkness and attack the tyranny of the ruling class also account for a considerable proportion. For example, Feng Mingji (about the struggle between loyal officials such as Yang Jisheng and treacherous officials such as Yan Song), Zhongjing Ji (about Yue Fei being killed) and He Rongji (about Wang Zhaojun being framed by treacherous officials and forced to kiss the Huns) are all representative works in this respect. Among the writers with bright stars, Tang Xianzu and his Peony Pavilion are worthy of being a bright pearl.

Tang Xianzu (1550 ——1616), with the same meaning, is a Taoist priest in Hai Ruo, Ruoshi and Qingyuan. Linchuan, Jiangxi. Born in a scholarly family. Read widely since childhood and study hard. Twenty-one-year-old, in the eleventh year of Wanli (1583), he was admitted to the imperial examination. He has served as Dr. Taichang Temple in Nanjing, Master Zhan's main book, and director of Nanjing Ritual Department. In the 19th year of Wanli (159 1), he was demoted to the canon history of xuwen county, Guangdong Province for criticizing current politics. In the twenty-first year of Wanli (1593), he was appointed as the magistrate of Suichang County, Zhejiang Province. In the 26th year of Wanli (1598), he abandoned his official position and returned to Li. He devoted himself to writing, and wrote Peony Pavilion, Conan Collection, Handan Ji, and the Purple Hairpin Ji written before, which are collectively called Tang Yuming Four Dreams. The Story of Purple Hairpin is adapted from Jiang Fang's legendary novel Biography of Huo Xiaoyu in Tang Dynasty. Mainly write the love story of Li Yi and Huo Xiaoyu. Handan Ji is based on the legendary novel Pillow Story written by Shen Jiji in Tang Dynasty. Lu Sheng dreamed that the pilots who took bribes would enjoy splendor. I woke up in a hotel in Handan. The Story of Conan is adapted from the legendary novel The Legend of Conan, written by Li Gongzuo in the Tang Dynasty. Mainly to write the dream that Chunyu Ba entered Huai 'an, married the princess, became the satrap and left the prime minister. Wake up, see through the world of mortals and sit down. The above three plays expose and satirize the evils of the feudal ruling class, the corruption of the imperial examination system and the corruption and enjoyment of the upper rulers, and express the author's strong dissatisfaction and indignation against the feudal system. "Life is like a dream" has been vividly and concretely expressed in Handan Ji and Conan Ji, which is quite romantic. Peony Pavilion, also known as Resurrection, is mainly adapted from the Ming version of Resurrection of Du Liniang. It wrote a love story between Du Liniang and Liu Mengmei. Du Liniang died in a dream because of love, and was resurrected because of love, which is quite different from the story of the legend of a talented person and a beautiful woman. The feudal ethics of the Ming Dynasty was particularly severe, and countless young women died as victims. Through Du Liniang's special experience, the author shows that under the pressure of feudal autocracy, the vast number of young men and women strongly demand personality liberation and actively strive for the freedom of love. At the same time, it exposed and criticized the decay of feudal ethics and the destruction of young men and women. At that time, it conveyed the voices of young men and women and had a strong spirit of the times. The moving artistic charm of Peony Pavilion has amazed people all over the world. When Tang Xianzu wrote this play, he didn't pay attention to structure, nor was he bound by Qu Law Firm, but focused on love stories. The emotion in The Peony Pavilion is mainly reflected in the image of Du Liniang. As the author said in "Inscription": "Women in the world are affectionate, so it is better to be Du Like Li Niang! I dreamed that the man was ill, and he was ill evenly, described by hand, spread all over the world and died. People die for three years before they can regain their vitality, and people who seek dreams in the backcountry are born. Such as Li Niang, is the lover's ear. I don't know what happened, but it was deep. The living can die and the dead can live. People who are born but can't die and die but can't be resurrected have no feelings. "The author used the interactive application of realism and romanticism to portray Du Liniang sincerely and touching, which aroused the strong desire of young men and women in ancient and modern times. Its wide spread dwarfs the story of the West Chamber. In terms of language, the author is good at processing natural and true language, and then forms it between depth, shade and elegance. This implicit and natural language is often integrated with the character's personality, which has strong lyricism and appeal. In terms of melody, Tang Xianzu is not very particular about it. Since The Peony Pavilion came out, the great composers of music at that time, such as Shen Jing and Lv Yusheng, made some modifications to some illegal places. Tang Xianzu was greatly annoyed. In his letter to Lv Yusheng, he said, "I might as well bend everyone's voice in the world. "Since then, there has been an argument, which formed the Ci-picking school headed by Tang Xianzu and the Metric school headed by Shen Jing, which lasted for hundreds of years. Now it seems that each has its own reasons, each has its own one-sidedness, and it is more perfect to give consideration to both.

The legends of the Qing dynasty completely inherited the mantle of the legends of the Ming dynasty. The difference between them is that the Ming Dynasty is the performance book of Haiyan, Yiyang, Qingyang and Kunqiang. In the middle of Ming Dynasty, Haiyan and Qingyang declined. In the Qing Dynasty, only Kunqu Opera and Yi Opera could put it on the stage.

The legends of the Qing Dynasty can be roughly divided into two periods. Shunzhi to Qianlong (1644— 1795) is the early stage. After entering the Qing Dynasty, in order to prevent the Han people from rebelling, the Manchu ruling class acted in full accordance with the rules and regulations of the Ming Dynasty, with few new measures. Economically, in order to win the support of the old bureaucratic gentry in the Ming Dynasty, he declared that taxes would never be increased, so that people with a large amount of land assets could still maintain their original interests. Coupled with relative political stability. Therefore, the economy has achieved considerable recovery and development. The entertainment of the people, courts and bureaucrats far exceeds that of the Ming Dynasty. At that time, the popular operas in China were mainly Kunqu Opera and Yi Opera. Kunqu Opera is the most popular in Jiangsu and Zhejiang provinces, while Beijing is dominated by Peking Opera (as Yi Opera was called after it settled in Beijing). Although Peking Opera is popular in the north, it is still regarded as elegant and orthodox in China by ordinary literati, so it still occupies an important position in Beijing. Due to the long-term struggle between Beijing Opera and Kunqu Opera, there are new creations and improvements in performance, singing, clothing and makeup. As the carrier of Kunyi, the creation of legends has also made new progress. Writers in Suzhou, such as Li Yu, Zhu Zuochao, Zhu Ye and Zhang Dafu, have low social status. They are not only familiar with people's lives, but also closely related to people's thoughts and feelings. They inherited Feng Mingji and other traditions that reflected the real life of struggle, and wrote Zhong Qing Pu and Wan Min Case. These works take civilians and businessmen as the main characters, reflecting their desperate struggle with power. They also have a close relationship with the drama club, and the scripts are mostly written in response to the performance of the class club, so the structure is simple, the songs are simple and popular, and they are suitable for stage performances. For example, Li Yu's A Grab of Snow, Biography of * *, Eternal Reunion, Hundred Flowers and Thousand Bells, Zhu's Fifteen Customs and the Emerald Garden, Zhu Zuochao's Happy Fisherman, and Zhang Dafu's Yuefu on Earth are all enduring. Li Yu is an expert in the field of traditional drama in China. He not only writes, but also leads a family class to perform everywhere. Ten of his Dai Li Weng's poems (namely, Flounder, Flying in the Building, Love and Sweet Companion, Making Love with Shen Luan, Clever Reunion, Helpless Day, Kite Mistakes, Jade Sao Tou, Edge of My Heart, Burning for Phoenix). Fang Chengpei's "Leifeng Pagoda" is full of folk mythology, which has been adapted and staged by various dramas and is evergreen. The Palace of Eternal Life and Peach Blossom Fan, which were called "Nanhongbei Cave" (namely, Hong Sheng and Kong Renshang) at that time, were even more exotic flowers in the legends of the Qing Dynasty, comparable to The West Chamber and Peony Pavilion.

Jiaqing to Guangxu twenty-six years (1796- 1898) is the later period. During this period, Kunqu opera declined and local operas flourished. Yi opera has also evolved into some local operas, or merged into a certain opera, with an independent voice. So the legendary creation also went into decline. Writers who can be mentioned are Jiang Shiquan and Salon. There are six kinds of Jiangshiquan: Snow Man, Xiangzulou, Linchuan Dream, Guilin Frost, Holly, and Empty Valley Fragrance. There are six kinds of salons: Innocent Jade, Xinghua Village, Nanyang Music, Ruiyun Map, Guanghan Ladder, Hua and so on. Sharon's six headscarves are much heavier than Linchuan Dream and Guilin Frost in the six kinds of Jiangshiquan. Later, Huang Xianqing (including Maoling String, Empress Dowager Cixi Flower, Taoxi Snow and Chrysanthemum Sword), Yang Enshou (including Horse, Li Lingbo and Once Again) and Li (including Bauhinia and Rouge Phoenix) said, "Wu Mei. However, the headscarf of Xingzhai (Salon) is not as heavy as that of Zangyuan (Jiang Shiquan). Linchuan Dream and Guilin Frost are both representative works. One is Huang Yunshan (Xianqing), without losing momentum; And then passed it on to Yang Enshou, who lost his source. Xuancheng Li, Yanghu Chen Xuan, etc. It is even more ridiculous. " (Introduction to China Opera)

The Palace of Eternal Life and Peach Blossom Fan are outstanding legends in Qing Dynasty. Many scholars like to compare the two. Although they have different views, they are both considered to be the best of both worlds. "Since both schools have come out, it is still very important for poets to be realistic with each other, which is no longer empty talk. The so-called mean alley, everyone is green, and the idle boudoir sends love, and every word is Sangpu. This wind is almost exhausted. Qujia is reviving, pushing floods and breaking holes. " (Wu Mei's Introduction to China Opera)

Hong Sheng, word,No. Renqi. Qiantang people. Born in the second year of Shunzhi (1645), he studied in imperial academy in the seventh year of Kangxi (1668) and lived in Beijing for more than ten years. In the 28th year of Kangxi (1689), he lost his nationality as a student because he played the Palace of Eternal Life during the national mourning. Soon returned to Zhejiang, drunk and drowned. He created ten kinds of legendary zaju in his life, and now only the Palace of Eternal Life and the Four Zen Volumes of Zaju are left. The Palace of Immortality tells the love story of Tang and Yang Guifei. Mainly based on the Tang Dynasty poet Bai Juyi's Song of Eternal Sorrow and Chen Hong's Biography of Song of Eternal Sorrow. Regarding the creative intention, the author wrote with an example: "The clock of thinking about love is rare in the imperial family, and the change of Ma Wei has violated the oath. However, in the Tang Dynasty, there was a saying that Jade Princess returned to Penglai Fairyland and Ming Chengzu visited the Moon Palace. Because of its common use, it features the love of the hairpin box and is titled "The Palace of Eternal Life". The combination of Tang and Yang Guifei is a historical event in itself. Their combination led to the Anshi Rebellion and even the rise and fall of the Tang Dynasty. Therefore, although the author sympathizes with their love tragedy, it also has the profound meaning of "being extremely happy and sad, worrying about the afterlife" (Preface to the Palace of Eternal Life). The first half of the play is mainly realistic, and the second half is mainly fiction. The former is happy and the latter is sad, with sharp contrast; Heaven and earth complement each other, giving people unlimited reverie and good enjoyment. Many lyrics are like lyrics, and some are touched by the scene and blend with the scene; Some are impassioned, which shows that the author's ability to control words is quite clever. The author is very familiar with the melody, and after writing it, it was repeatedly revised by famous musicians at that time, reaching the height that all the songs in Gongdiao were illegal and all the songs in the collection were unqualified. In this regard, the Qing Dynasty * * * spoke highly of it in the Preface to the Palace of Eternal Life: "Every sentence is concise and the words are not harmonious. Those who love literature love its words, while those who know friends appreciate its methods. So rumors spread far and wide, and animal musicians saved pens to write and turned to teaching. Youling can, and the price is raised a hundredfold. "

Kong, whose real name is employed and whose name is heavy, is Dongtang, whose real name is Songtang, and whose ancestral home is Mountain. People from Qufu, Shandong. Sixty-four generations of Confucius' grandchildren. Born in Shunzhi for five years (1648). I studied for a career when I was young. Imperial academy was born in the 20th year of Kangxi (168 1). In the 23rd year of Kangxi (1684), he was appreciated by Emperor Kangxi and was hired as Dr. imperial academy. In the twenty-fifth year of Kangxi, he went to Yangzhou to harness the Yellow River into the sea, met some old people in the late Ming Dynasty, visited Nanjing Ming Palace Museum and Ming Tombs, learned a lot about the rise and fall of Nanming, and accumulated rich materials for the creation of Peach Blossom Fan. After returning to Beijing, he served as Minister of Housing and Urban-Rural Development and Foreign Minister of Guangdong Department of Housing and Urban-Rural Development, and was soon dismissed. Kangxi died at home in the 57th year (17 18). In addition to Peach Blossom Fan, his major works include Tang Yiji, An Tangji and Graceful Words. Today's collection is Kong's poems. Peach Blossom Fan is a typical historical drama. The main characters written by Nan Ming are accurate. As for being immersed in love, the guests are laughing, although it is slightly exaggerated, it is also justified. The drama uses the feelings of Li, Li and Li to write about the demise of the Nanming Dynasty, from which the author's strong national feelings and the pain of national subjugation are conveyed. Peach Blossom Fan is very distinctive in depicting characters. Each character has a distinct personality. Li, Liu Jingting, honest Su Kunsheng, violent and Ruan Dacheng all left a deep impression on people. The whole play has many characters, complicated clues, no branches and vines, and a very rigorous structure, which shows the author's superb artistic talent. The lyrics are filled according to the identity of the characters, and the lyrics are gentle and elegant; Writing the lyrics of political struggle is warm and generous, which is very suitable for the tone of the characters. Unfortunately, because it is not very musical and difficult to sing, it is rarely put on the stage by Kunqu Opera.

Compared with peach blossom fan, which is better? "The words on paper are more eloquent than the flood, and I don't know the arrangement of ostentation and extravagance and the distribution of palace tunes, so it is above the East Tang Dynasty." Peach Blossom Fan has good words but poor intonation, which is deeply regrettable. What has been poor for two hundred years in the field of ci is unique. This is Wu Mei's evaluation in An Introduction to China Opera.