Soup style

Soup style

Tang Shi, an important Sanqu writer in the late Yuan and early Ming Dynasty, was born in Xiangshan, Zhejiang Province. The year of birth and death is unknown. At the end of the Yuan Dynasty, he once made up for the county officials, but later he was defeated. He was not an official in the Ming Dynasty, but it is said that Chengzu "favored him very much.". He is funny and has composed many Sanqu, which is called "collection of Bihua" and is now kept in the manuscript. Most of the works are about scenery and history, which are skillful and readable.

Profile

Tang style is a composer and dramatist in the late Yuan Dynasty and early Ming Dynasty. Word Shun min, Ju Zhuang. Xiangshan (now Zhejiang) people. He used to be a county official in this county, but he failed in his ambition. In Ming Dynasty, Zhu Di lived in the north of China. When he was in Yandi, Zhu Di, the founder of Ming Dynasty, was very popular. He was often rewarded in Yongle years. Tang Shi's works record history with songs, and have rich ideological content, which greatly expands the subject range of Sanqu literature. His Sanqu reflects the change of dynasties and the sufferings of the common people, and then summarizes the history and laments the life; describes the decaying scene of the Yuan Dynasty, while conveying the hope for the new dynasty; and he uses the Sanqu style to express his mourning feelings, creating the beginning of the mourning Sanqu. Tang style is a composer from Yuan Dynasty to Ming Dynasty who has the largest number of songs and a wide range of Sanqu themes. His works are skillful in creation techniques, diverse in artistic styles and rich in Qu flavor. Tang style can be regarded as the Royal Army of Yuan Sanqu across the times. It can be said that Tang style was the unveiling person who took the old steps on the new stage of Ming Sanqu.

Works introduction

Most of the lyrics and songs they wrote no longer exist. There are two kinds of dramas, ruixianting and jiaohongji, which are lost today. Sanqu has been handed down from the Ming Dynasty to the world, but there are some defects in the book. Besides the present edition, there are also some Sanqu, which are recorded in Yongxi Yuefu, Shengshi Xinsheng, caibi Qingci, etc. There are 68 works in total, 170 Xiaoling and 1 remnant song. All are lost.

Creative features

Tang style Sanqu is brilliant and skillful. Tang Shi not only created a large number of Xiaoling with rich content, including Xiaoling (toad palace song) ode to the west chamber, which had a great influence on later generations. This is a heavy sentence haiku style, that is, the third sentence and the second sentence are similar in meaning and syntax. It has a natural charm and becomes a whole, which has been imitated by many later generations. Tang Shi is also committed to the creation of sets, making good use of short sets, and making bold attempts and innovations in individual long sets. In terms of artistic creation techniques, Tang style pays attention to the application of such skills as trueness, reduplication, inlaying words, heavy sentences, short columns and reduplication in many fluent and popular songs, forming a rich and colorful wandering style with rich flavor. In addition, they often use allusions flexibly in the perfect sentence structure, which has achieved the effect of seeking elegance in vulgarity. The specific performance of Tang style Sanqu is that it inherits the tradition of seeking elegance in the literary creation custom of Sanqu in the late Yuan Dynasty, enlightens the Ming Dynasty's composers in the aspects of wandering skills and integration of elegance and popularity, and maintains the inherent stylistic characteristics of Sanqu literature as far as possible. In the later period of Yuan Sanqu development, although Zhou Deqing and Zhang Kejiu showed the tendency of elegance in theory and practice, the vast majority of Qu writers still adhere to the natural and popular style of Qu literature, regardless of the bold and unconstrained school or the Qingli school. Some Qu writers who want to show off their talents only show their talent from some special skills and techniques.

Contribution of works

In the aspect of artistic style expression, the style of Tangqu, especially Tangxi romance Sanqu, was elegant in words and familiar in sentences. This kind of style influenced the southern school musicians in the middle and late Ming Dynasty, such as Liang Chenyu, Shen Lu and so on. The main style of Tangqu is gorgeous and dense, and there are many works of bold and unconstrained nature, especially a few Sanqu with bold and unconstrained participation. Tang style inherits the tradition of seeking elegance in the later period of Yuan Sanqu, shows his talent in Sanqu creation, and maintains the literary style of Sanqu. The sentence structure is usually perfect. The artistic creation style of Tang style Sanqu is commented by Zhu Quan in "the music of Taihe Zhengyin Pu" that "Tang shunmin's Ci is like the spring breeze of Jinping." Zheng Zhenduo's Illustrated History of Chinese literature says that "the works of Shun min are the masterpieces of the song, and the masterpieces are round, steady and mature, which is his specialty." But then he said, "there is no such genius." Perhaps Zheng Zhenduo's evaluation is too low. On the one hand, it is in line with the law to look at the development of music from the perspective of the habitual thinking of the development of poetry, but his vision is rather narrow, because although poetry, poetry and music are all rhyme styles, each of them has its own particularity. Tang style works in the late Yuan Dynasty and early Ming Dynasty should not bear all the evaluation of the declining trend. On the contrary, Tang style works are inherited from Yuan style works and followed by Qiming style works, which have their own unique value.

Historical evaluation

Tang style Xiaoling has a song of chanting the west chamber, which has a great influence on later generations. This is a heavy sentence haiku style, that is, the third sentence and the second sentence are similar in meaning and syntax. It has a natural charm and becomes a whole, which has been imitated by many later generations. The creation of Tang style Sanqu shows that although he can't stand side by side with the first-class people in Yuan and Ming Dynasties, he is an important composer in the same period and should occupy a place in the history of Chinese Sanqu literature. It is said in the sequel to the book of recording ghosts that his works were "skillful in language and well-known in the world". It can be seen that his works were widely spread at that time.

Sanqu works

Tianxiangyin, West Lake feeling

How was the West Lake in the past? Song is sung in the morning and song is sung in the evening. How is West Lake today? Fight in the morning and fight in the evening. In the past, there was a spring breeze in 20 Li Gu restaurant. Today, there are two or three fishing boats, and the sun is setting. The time is wasted, the character is wasted. West Lake in the past, Nanke today.

Tianxiangyin: the song of toad Palace

Song is sung in the morning and song is sung in the evening: in Lin Kai's poem titled Lin'an residence, the poem "when will the singing and dancing of the West Lake stop?"

Shuangdiao · tianxiangyin

Feeling old in the West Lake

How was the West Lake in the past? Song is sung in the morning and song is sung in the evening. How is West Lake today? Fight in the morning and fight in the evening. In the past, the restaurant of 20 Li Gu was very fragrant. Today, there are two or three fishing boats, and the sun is setting. The time is wasted, the character is wasted. West Lake in the past, Nanke today. In the confrontation between Zhang Shicheng and Zhu Yuanzhang at the end of the Yuan Dynasty, Hangzhou was trapped in the chaos of war for ten years. This ditty expresses the poet's antipathy to war, his desire for peace, and his allegory to the rulers through the lament of the rise and fall of Hangzhou. Writing, focusing on the past prosperity and today's desolate contrast, low tone euphemism. The conclusion fully reveals the poet's sadness and euphemism with the allusion of Nanke Yimeng.

Shuangdiao · qingdongyuan

Jingkou liquid Park

My hometown is a thousand miles away. I'm counting my schedule by sailing alone. I'm leaning against the tarpaulin window and sighing for my life. The sound of drums at the head of the city, the sound of waves in the middle of the river and the sound of bells at the top of the mountain. One night's dream is hard to come true, three sorrows coexist. This song was written by the poet when he was exiled from the south of the Yangtze River from Yuan Dynasty to Ming Dynasty. It not only expresses his homesickness, but also expresses his self pity for his life experience. The tripod of the middle three sentences is a famous sentence with great appeal, which uses drum sound, wave sound and bell sound to render the environment and set off the mood.

Chinese PinYin : Tang Shi