Shen Zijin

Shen Zijin

Shen Zijin (1583-1665) was a famous dramatist in the late Ming Dynasty and early Qing Dynasty. The word Boming, the late word long Kang, number West, double Ju Tong. He was born on September 18, the year of Guiwei in Wanli of Ming Dynasty and died on February 26, the year of Kangxi of Qing Dynasty. He was 83 years old. Shen Zijin was born in the Shen family of Wujiang. He was indifferent to fame and fame, kind-hearted, hardworking and rich in literary talent. He has more extraordinary musical talent, lifelong love, study ceaselessly, is a master of Jiang school. His works include Su Li's continuation, Yue Xi's new chant, bu Shu Tang's near grass, etc.

Profile

Shen Zijin, a native of Wujiang, Jiangsu Province, was born in the late Ming Dynasty. He is a disciple of the weak crown doctor. He is deep and good at ancient times. Besides, he has a lot of unofficial history to search. Shen Zijin was a scholar when he was about 20 years old, but later he did not pursue fame. After the death of Ming Dynasty, he lived in seclusion in Wushan and composed music and lyrics with his sons.

After the fall of Ming Dynasty (1644), the style of Shen Zijin's works is different: in the early stage, he mostly gave birthday greetings, chanted things and flowers, and enjoyed the feelings of men and women, which are elegant and elegant. After the death of Ming Dynasty, he wrote his thoughts of Homeland and family garden repeatedly in his Sanqu, expressing the sadness of rise and fall and disorder. His style changed greatly. The existing legendary works include Cuiping mountain, Wanghu Pavilion and Sheying Club (only five lost songs are included in the new spectrum of nanci). On the other hand, it is very useful for the study of Nanqu tune and the collection of dramatists in the late Ming Dynasty, especially the Shen family in Wujiang.

Shen Zijin's Sanqu collections include Su Li Xu Zou, Yue Xi Xin Yong and bu Shu Tang Jin Cao, collectively known as Ju Tong Yue Fu, which mostly describes the chaotic scenes in the Jiangnan area in the late Ming and early Qing Dynasties; Shen Zijin's Sanqu works also include seven sets of Divertimento, seven single pieces and thirteen single pieces scattered in the new score of nanci, which are compiled by Feng Menglong. There are 22 poems, three in Wujiang Shen's poetry anthology compiled in the fifth year of Qianlong reign of Qing Dynasty, two in seven rhythms in heziyou's original rhyme of passing away, and 17 in Jutong Yuefu's self inscribed portrait.

Features of works

Shen Zijin is good at music, especially in melody. He once added Shen Jing's "nanjiugong thirteen tune music score" to "Guangji ciyin's additional nanjiugong thirteen tune music score" (referred to as "nanci new score"), which is more detailed than the original.

Shen Zijin's Ci and songs are based on his family tradition and stick to the line. His words are fresh and his expression is also wonderful. For a time, the singers such as fan Wenruo, bu Shichen, Feng Menglong, Yuan Yuling, etc. were admired by each other. Feng Menglong selected taixia new performance, pushing Shen as the final volume. Fan Wenruo praised that "the school year of Qu has been short for a long time, and Yuan (Yuling) and Shen (Zijin) are good at CI field".

The theory of Quxue

Shen Zijin's theory of Quxue is mainly concentrated in the new score of nanci. On the premise of objectively looking at the new Shengli Ci, he dialectically saw that archaeology can be prepared to resolve doubts; from now on, it can be spread, adjusted and widely taught, and the combination of the two can enhance the vitality of opera art. Therefore, Shen Zijin, in the process of revising and supplementing the music score of thirteen tunes in nanjiugong, kept pace with the times while observing the family law, extensively compiled new Shengli Ci, and made great efforts to combine the rhyme, tune, talent and beauty into the double beauty of both at the same time.

It can be seen from zhongdingnan CI quanpu Fanlu that the principles of following the old style, reporting Xiancheng, valuing the original Ci, shenzengzhu, strict rhyme, and careful deletion mainly embody Shen Zijin's strict adherence to the rules of CI Yin, in the annotation of gongdiaoyu, the summary and analysis of styles, and the selection of example songs

In order to make the new score more accurate, detailed, simple and direct, and not dazzling, we should follow the original score and revise and supplement it on the basis of objective and realistic. Especially in the "strict rhyme", Shen Zijin thought that "the language and music are based on the law, when the heaven and the man are in harmony!" He highly praised the idea that the law should be based on the nature. In the principle of "checking the left hand", Shen Zijin also points out the social entertainment value of Opera Art: try to think about the spread of new sounds, the sound of a hundred harmonies, give a clear song to Wei Shi, then the throat will be tender and the beads will be spit out, the silk and bamboo will be compared, the flying flowers will fight the moon, and the seat will be shaken; what's more, when you are learning, you will be able to walk on the carpet, and you will be able to pass on the sound with a smile. It can be seen that Shen Zijin attaches importance to the aesthetic and popular entertainment effect of traditional Chinese opera through sound and movement, rather than the traditional role of wind education, which can be confirmed in his own opera creation. While affirming the entertainment value of traditional Chinese opera, Shen Zijin also realized the cultural heritage value of traditional Chinese Opera: the way to build a sound is subtle, one has one's hand, one has one's style, one has one's experience. Yu's collection is an interview with many Ci writers to verify his works. You can know the person and his life at a glance. It's not the word of zhilang's family name. This is mainly because Shen Zijin suffered from the revolution of Ming and Qing Dynasties, and lived in Qing Dynasty in his later years. In the process of sorting out the opera lyrics of Ming Dynasty, he knew people and discussed the world through opera works, and felt nostalgic for his hometown. Therefore, he affirmed the cultural heritage value of opera art.

Creative practice

sketch

Shen Zijin's Cuiping mountain is more influenced by Shen Jing's Yixia Ji, but there are great differences in the theme style. Also based on the story of Water Margin, Shen Jing's writing about Wu Song's killing his sister-in-law was mostly confined to feudal preaching, and even wrote to LV Tiancheng, warning: "this is not a prosperous event, so don't keep it secret." Shen Zijin, to a certain extent, got rid of the shackles of feudal preaching and focused on the nature of heroes of the water margin. In the process of Shi Xiu's killing his sister-in-law, Shen Zijin vividly expressed the heroic spirit of heroes of the water margin, such as happy gratitude and hatred, heroic spirit, vigorous style and no posturing.

Creation of Wanghu Pavilion

Wanghu Pavilion is a mature secular comedy, which successfully inherits the characteristics of drama, entertainment and secularization of Shen Jing's later drama creation (such as Bo Xiao Ji). It is also a good practice of Shen Zijin's requirements for opera creation

The standard of harmony. Shen Zijin pays great attention to the shaping of the main characters and the promotion of the plot development, so as not to be abrupt. This can be seen from the comparison with Feng Menglong's novel Qian Xiucai mistakenly occupying the Phoenix couple. Qian Xiucai in the drama agreed to Yan's request because she cared about her livelihood. Qian Qing in the drama refused to agree to this unreasonable request, but because of his aunt's request and considering that the Gao family may not be in love, she reluctantly agreed out of family affection, which shows the hero's integrity. As for Qian Qing's three nights of staying upright in her bridal chamber, there are also detailed preparations in the opera. In the ninth play, Qian Qing was not moved by her beauty when she first met Gao Baiying, and respected her female guests. In the thirteenth play, Qian Qing refused her aunt's adopted daughter Huang Xiaozheng's offer, showing her innocence. In this way, the character's character and action are logical, natural but not abrupt, and the plot development is ironing but not artificial. Among the characters in the play, Jing Xi is more serious. Shen Zijin greatly enhances the comedy effect of this secular play through the action and entertainment gags of Jing Xi. For example, Yan Xiu tried to find out her beauty by looking at the mirror, washing her face and changing clothes in "ziho"; in "Zhuangyu", Yan Xiu beat her chest and knelt down to Qian Qing, hoping that Qian Qing would agree to Zhuangyu's request of cheating marriage, which was vivid, humorous and not exaggerated, greatly enhancing the effect of satirical comedy.

Drama language

From the perspective of opera language, "Wanghu Pavilion" has beautiful lyrics, fresh and elegant; the object is heavier, easy to understand, more promote the plot development, mixed with Su Bai, humorous; Ke Jie is humorous and interesting, and has strong stage action.

Overall creation

From the creation of Cuiping mountain and Wanghu Pavilion, Shen Zijin made great efforts to pursue the harmony and nature of voice and emotion in practice, and created a mature "song of the field", in which the depiction of street characters is particularly vivid and the focus is more lively and compact, which has successfully promoted the further secularization, dramatization and entertainment of traditional Chinese opera It's not easy.

Book review

A close look at traditional Chinese opera

Shen Zijin tried to avoid the looseness and straightness of Shen Jing's Yixia Ji, and used the technique of multi-directional and relaxation. For example, at the beginning of the play, Shi Xiu, Dai Zong and Yang Xiong entered together and were ready to go; at the end of the play, there was the twelfth one to see the Buddha's teeth, and pan Qiaoyun and Pei Ruhai colluded with each other to become a traitor; at the end of the play, Zhou Tong set out to fight for Shi Xiu's wife in vain; at the end of the play, Li Kui and Dai Zong went down the mountain, and these three parts went hand in hand, causing a climax. Later, Li Kui disguised himself as the bride to fight Zhou Tong, which is a relief. After that, Shi Xiuzhi told Yang Xiong that pan Qiaoyun was cheating. Shi Xiu killed the monk and Yang Xiong killed his wife. They went to Liangshan to help each other. All the way down, ups and downs and bright and capable, thoroughly. As a matter of fact, the appearance of Shi Xiu's wife was obviously influenced by Shen Jing's portrayal of Wu Song's wife, who was born with Dan. It was only for the expression of the idea of men's loyalty and women's chastity. Although it increased the drama of Li Kui and Dai Zong, it was still a bit of a sideshow.

structure

In the structure, Shen Zijin used the double line layout, which was relaxed and reflected each other. It was dramatic but not too complicated. It was more lively and concise than Cuiping mountain, and had a great improvement. On the one hand, Qian Qing was forced to guard her bridal chamber for three nights because of the snow storm, on the other hand, Yan Jun was waiting for the bride by the lake. The two lines went hand in hand, one side was more and more embarrassed, the other side was anxious and angry, pushing the plot to the climax, which was more fascinating.

Characterization and the use of drama language

Similarly, Shen Zijin's work is also well based on the principle of "being the real character"

Chinese PinYin : Shen Zi Jin