Jia detailed data collection

Jia (later 1343 ~ 1422) was a zaju writer in the late Yuan Dynasty and early Ming Dynasty. The whole book "Taihe Spectrum" is Jia. Counting the water from the clouds scatters people. Zichuan (now Zibo) was born. Smart, studious, well-read, good at reciting, especially good at lyrics and argot. Judy, the founding emperor of the Ming Dynasty, once worked in the prince's mansion and liked him very much. He made many legendary operas and Yuefu, which were beautiful and ingenious, and later moved to Lanling to be an official. He is the author of the Voice of Clouds and Water. He wrote a sequel to Ghost Book and dozens of two-tone Ling Boxian lyrics for 82 opera writers. He combed and commented on these opera writers and their creations, and many of them are fair and decent, which are still widely quoted by people.

Basic introduction of real name: Jia alias: Jia Zhong posthumous title: Time of three people's life: Birthplace in late Yuan Dynasty and early Ming Dynasty: Zichuan (now Zibo, Shandong Province) Date of birth: 1343 Time of death: 1422 Major works: sequel to ghost book, legacy of water clouds and other major works, works evaluation, creative ideas and contributions. Jia and the Prince, Jia and Luo Guanzhong, whose main works "Jade Comb" are also called "Jade Comb", are all recorded in the full names "Jing Chongyu Comb" and "Ghost Book Continuation". His skills were not tested. According to the Qing Dynasty's Summary of Quhai General Catalogue, this drama is similar to Sanqu to Help Qiu Qi in Song Dynasty (Lu You's Biography of Qiu Qi in Southern Tang Dynasty, Volume 20). 60% off and a wedge, Dan Ben and Zheng Dan play Gu Yuxiang. Xiao Shulan, also known as Bodhisattva Man, is named "Xiao Shulan loves Bodhisattva Man", which is recorded in Ghost Book Continuation and Quhai General Catalogue Summary, and also recorded in Ci Yuan Cong Tan. Xiao Shulan's skill of pasting Bodhisattva's full ci can be found in Zhuo Renyue's Ancient and Modern Ci Series of Ming Dynasty (Volume 75 of Ming Dynasty and Volume 16 of Zhuo Renyue's Ancient and Modern Ci Series of Wen Yi in four years). Xiao Shulan says: Zhang Shiying Pavilion is in Xiao Gongrang's house. Her sister Xiao Shulan loves Zhang and wants to take it off, but Zhang refuses. Xiao Naifu's "Bodhisattva Man" gives a cloud: "Heaven teaches Liu Ruan to be fascinated by Peng Dao, and the peach blossoms follow the grass. Do you know that grass can arouse the idea of spring? My body is as light as a leaf, and your will is as strong as iron. I want you to be rich and abandon me. " Te Tzu Chang left without saying goodbye. Xiao said, "The tide of love has fallen to Xiling Shop, and the heartless man has gone to Xiling. I don't know whether to go or not, for fear that people will miss Iraq. I remember ten million and hate ten million. After all, there are many memories, and it is nothing to hate. " After the public knows, they should make sisters, prepare gifts and get married. Yuhuchun, whose full name is Li Sulan Yuefeng Yuhuchun, is recorded in Ghost Book Sequel and Quhai Atlas. 60% off the whole play, a wedge. At the end of the play, it plays Li Bin. In the play, Li Bin, a scholar of Guangling, falls in love with * * * Li Sulan, breaks through the obstruction of his wife and wealthy businessmen, and all ends well. In the play, the real person in real life is taken as the prototype (Li Bin), that is, Li, a composer at the end of Yuan Dynasty, and a Taoist named Yuhu, who has been in contact with Jia for a long time), which is really rare in Yuan Zaju. The play describes the social life and human feelings at that time, which is rich and vivid and quite distinctive. Jin Anshou, also known as Mr. and Mrs. Jin, together with Qu Haizong Hu Xiaojie of Qing Dynasty, also known as Yi Ape, are called Mr. and Mrs. Du Jin. The complete Taihe Spectrum lists "Jia's Du Huangjin Couple" in the zaju Thirty-three Books of Zhou Dynasty. The play tells the story of the Queen Mother of the West ordering Tie Guai Li to take off the "golden couple" and send it back to the celestial world. The skills of the Queen Mother of the West can be found in the works of Shan Hai Jing, such as Xishan Jing, Haineijing, Yexijing, Han Huanqian's Biography of the Queen Mother of the West, and the Biography of Emperor Wu of the Han Dynasty. Tie Guai Li's skills can be found in The Legend of the Immortal. There is no wedge in the whole play, and the end of the book is the end of Jin An's hand. Jia is not only handsome and talented, but also generous and has a wide range of friends in Wang Yang. Because of many legends, many Yuefu works and profound attainments, many songwriters have praised them. He also has a wide range of friends. At that time, Yang Na, Wang, Zhu Jing, Lu, Luo Guanzhong and other "world famous scholars" crossed with him. In the Ming Dynasty, Zhu Quan wrote many strange plays and Yuefu, and his ci was described as a "splendid banquet". Later he settled in Changzhou, "so he was at home. "His creative theme shows two tendencies: one is immortality, and the other is children's love. His zaju also reflects the trend of artistic innovation at the end of Yuan Dynasty and the beginning of Ming Dynasty, such as the duet between Zheng Dan and Zheng Dan in "Dream of Immortals" and the integration of North and South in music. Jia also wrote "Ling Boxian Sanqu" for Guan Hanqing and 82 senior students, which is contained in Zhong Sicheng's Ghost Book. 1, such as "Hanging Guan Hanqing": "Zhu Yi's words naturally spit, even if there is a golden etymology, exquisite heart. Romantic love, unfamiliar familiarity, sweet names, four China. Liyuan leader, editor-in-chief, director of drama class. " 2, "Hanging Ghost Books": "Zhong Jun's ghost books are a collection of talents, and their sound price is like Lei Zhen. The name of the jade in the skirt still exists, which has lasted for thousands of years and has remained for thousands of years. It's like playing in harmony. It's hard to erase the name on the paper by burning a cigarette card. "3." Fairy horse is among the flowers, and eternal life is focused on reaching far, and everyone talks about envy. War literature field, music champion. Famous incense, full of pear orchards. In the Han Palace, tears of autumn streamed down, and Mrs Qi, Meng Haoran and Yu * * * stood side by side. "4." New zaju, old legend, "The West Chamber" won the world. "These lyrics provide a lot of valuable materials and clues for the characters, talents and life experiences of the above 82 zaju writers. There are 16 kinds of zaju that evaluate Jia's works, among which there are 5 kinds, namely, Dream of Ascending Immortals, Jin Ping Mei (Jin Anshou), Jade Comb (Dui Yu Comb), Bodhisattva Man (Xiao Shulan) and Jade Pot Spring. The first two are fairy tales, and the last two describe the love stories of young men and women. None of these works are brilliant, but Xiao Shulan, the heroine portrayed in the Zaju of Bodhisattva Man, is quite distinctive in her active pursuit of scholar Zhang Shijie in marriage and love. However, while Jia praised this pursuit, he also affirmed that Zhang Shijie, the leading actor, did not go beyond the norms of feudal ethics in words and deeds, thus causing contradictions in the ideological tendency of his works. Jia's zaju also embodies the innovation in form at the end of Yuan Dynasty and the beginning of Ming Dynasty. For example, "The Dream of the Immortal" uses the duet of righteousness and evil, and the music adopts the combination of North and South. " Taihe "Spectrum" said: "Jia's words are like a gorgeous banquet. "In the Ming Dynasty, Zhu Quan's Taihe Spectrum contained Thirty-three Books of Zhou Dynasty, and the Jia Dujin couple. Jia's zaju "Golden Marriage" and "Dream of Ascending Immortals" belong to immortal Taoist dramas. The so-called "immortal Taoist drama", also known as "immortal Buddhist drama" and "drama", is one of the types of Yuan Zaju. Its plot mode can be basically divided into four categories: those who are destined to enter the fairy, those who leave because of kindness, those who live in seclusion and enter the Tao, and those who preach mana karma. The emergence of a large number of works on this theme in the Yuan Dynasty was a manifestation of the prevalence of Taoism at that time. In some of these excellent works, they also reflect the real life of the Yuan society to varying degrees. Although this drama belongs to the immortal Taoist drama, it is full of romanticism because it is about heaven and earth and fairyland is not true. The combination of "North and South" is used in every turn of the play, which breaks the routine of Yuan Zaju, boldly innovates and tries again. Zheng Dan and Zheng Mo sang alternately in a ten-fold play, with Zheng Dan singing south and Zheng Mo singing north, which was quite creative. This is unprecedented in Yuan Zaju, which shows the author's pioneering spirit of bold exploration, innovation and unconventional in art. All comments on Taihe Pu: "Jia Zhong's famous sentences are like splendid banquets. The existing versions include the famous ancient dramas and the orphan Yuan and Ming dramas collected by Wang Mai Museum. Jia's creative thoughts in his later years stopped writing after script writing. Because Zhong Sicheng's Ghost Record is only used by eighteen people below the palace, he started to make up the song. " Mr. Zi Guan has 82 people on Gao 'an Road, and each of them is reluctant to make the first song. "blare! If you dare not gallop ahead of your predecessors, you may have to pick up its legacy and make up for its shortcomings. In this way, it is said to continue the shame of Ma Tengyun! " This reflects his admiration for his predecessors and his writing style. In the twentieth year of Yongle (1422), Jia was eighty years old. Through the creation and supplement of Ling Boxian, he expressed his basic views on Yuan Zaju, mainly in three aspects: the drama literature theory that emphasizes "beauty". Jia's comments on Yuan Zaju are as follows: 1. Paying attention to the beauty. He attached great importance to the skill of "arrangement" in the plot structure of Yuan Zaju's creation, and advocated the artistic attainments of "moving festival and meaning pulse". The main points of Guan Mu's beauty in Yuan Zaju summarized by him are as follows: Guan Mu Zhen-the content conforms to the reality of life and the plot arrangement is reasonable: Guan Mu Qi and Guan Mu Leng-the theme is novel and the structure is ingenious: Guan Mu * * and Guan Mu Hui Guang-the plot structure should have the aesthetic style of flying charm and vivid expression. Second, he attaches importance to the beauty of language. He pays more attention to the literary talent of language, praising "the beauty of poetry lies in language" and "the beauty of writing words lies in charm". However, the literary beauty of Qu Fu is not only the literary processing of the language of life, so it should be "spoken without being coarse"; It is also a natural and heartfelt flow, so it is the natural flow of "Zhu", and its etymology is there. Linguistic beauty is the unity of natural beauty and literary beauty. The third is to attach importance to the beauty of phonology. His achievements in this respect are as follows: the tune is fresh and fresh, with the artistic characteristics of "yellow on the top and new sound on the middle", that is, "fresh tune"; According to the harmony of cavity and circle, melody achieves "harmony of melody" and "harmony of paragraphs", thus producing the rhythmic beauty of "smooth melody"; The tune is clear and clear, with the musical beauty of "golden sentence strikes jade" and "clear voice" ... golden jade is sonorous. The drama function theory that emphasizes "goodness". Jia attaches great importance to the educational function and social effect of Yuan Zaju, and can be said to be the first music theorist in the research history of Yuan Zaju who explicitly put forward the platform ("stage") enlightenment. He has two hanging songs like this: on the outline, there is a red man, and the twist "Things Happened in the East Window" is the old version of the West Lake, persuading the people of good and evil. History is faithful, good and evil are divided into virtuous and foolish, and ethics is tested on the stage. He believes that the creation and performance of Yuan Zaju have ethical values of reasoning, distinguishing good from evil, being sincere and believing, and knowing good from evil, which has played a platform role in educating people and testing human feelings, and emphasized the ethical significance of the drama function and its influence on the moral spirit of the times and social ethics. Jia also pointed out that an excellent Yuan Zaju can achieve "the truth is hidden behind, and the good and evil of the virtuous and the foolish are combined with the heaven and the earth", and can reflect certain historical laws through specific events, thus playing an educational role, that is, the so-called "more temporary things, fiddling with the causes of the Millennium, distinguishing right from wrong", and revealing the universal laws of history in specific drama plots ("the causes of the Millennium"). Theoretical issues such as the typicality of plot and the authenticity of art are involved here. It should be said that excellent zaju provides a solid theoretical inductive soil for Ju Yuan's praise of goodness based on respect for truth. Thirdly, it emphasizes the drama development theory of "Tai". With regard to the social environment for the development of Yuan Zaju and the reasons for its prosperity, Jia's understanding is that Yuan Zhen is a great virtue, showing China people, reaching the great emperor to celebrate the state of Jin, extending to governing the world, cultivating talents, creating legends, and gathering for a while. Yuan Zhen's great virtue is a symbol of the Yuan Dynasty, which is widely spread all over the world. It is beautiful in beauty and beauty, and it thrives in the north, south and east. In his view, the prosperity of the country and the peace and stability of the society are the historical atmosphere for the development of Yuan Zaju. The so-called "talented people come forth in large numbers in the heyday" is even more blunt about the relationship between Taiping and Shi Sheng and opera writers. In this regard, he also made a specific description: the general manager of the teaching workshop has ample food and clothing, and strives for the greatness of rice and San Qian. It's no use eating all day, and that song "Gale" ... the ruling and opposition parties are prosperous. During the Yuan Dynasty, I sang Cao and enjoyed the rain and wind. "Prosperity between the ruling and the opposition" is manifested in the economy, and the writer's situation is naturally a beautiful scenery. In his eyes, the playwright is either a carefree prodigal son, such as Fei's "Mandarin Duck Rhyme, Phoenix Tone". Drunk whips strayed into Pingkang Lane, sitting next to the beauty's golden wares, and Liu's Yingying Flower Team, Luo Qicong, Leaning on the Red or those who sang praises to virtue in an idle and extremely boring way, such as Zhao's "A Moment of Personality, Eulogizing He Taiping" and "Teahouse, Laughing in the Corner, Clearly Virtue, Ballad on the Daotai". Relatively stable social order and strong economic foundation-"Daotai" is of course a necessary condition for the development and prosperity of zaju art; However, is it more mediocre to treat civil servants than an objective portrayal of the reality of the Yuan Dynasty, because the peaceful scenery of the society and the well-off situation of the writers of the Yuan Dynasty are so high? Xiao Shulan's most valuable contribution to the study of Jia Yuan's zaju is his theory of drama literature: Guan Mu discusses the aesthetic characteristics of plot narration and structural techniques of Yuan Zaju, which is a great progress in the study of classical drama in China and a historic breakthrough from neglect to emphasis; While affirming the beauty of language and melody, dialectically putting forward the theory of "beauty of words and beauty of tune" is also a scientific summary of the law of lyrics creation in zaju. On the one hand, his theory of drama function and development has a certain degree of authenticity or rationality because it explores some laws and characteristics of Yuan Zaju art, on the other hand, there are many backward induction or distorted evaluations. For example, the historical law or life truth he understood in functionalism is essentially a natural truth with Confucianism and feudal ethics as its core; On the theory of development, imitating the profile of the prodigal son of Yuan Zaju as a full-length portrait and affirming the angry works as a Taoist and Thai ballad is a sincere and vulgar imposition of one's life ideal and realistic attitude on the development history of Yuan Zaju. Lion Dance, Peace and Prosperity, Jia and Northern Yan Wang Jia, writers of Yuanqu, rising stars at the end of Yuan Dynasty. He lived in Zichuan (now Zibo) and became famous for studying Ma Zhiyuan Yuanqu. The prince appreciated his literary materials and chose him to serve Judy in Yan Wangfu. Jia got the favor in the pro-palace. The prince was very happy when he saw Jia's zaju "Little Book Bodhisattva Man". He gave a banquet to invite Jia to dinner. During the dinner, the prince asked Jia, "Your words are like a feast. Who do you take as your teacher?" ? Jia Yue said, "Ma Zhiyuan is a teacher." The prince said, "Who is the first in Yuanqu? What do you say? " Jia Yue said, "Ma Yuan is the best, and I have literary talent." The prince said, "Sing it to me: Jia Huan (double tone) hangs Ma Zhiyuan. In the flowers, the horse will not die, and eternal life will focus on reaching far. Everyone in the world is talking about envy, striving for literary field and being a music champion. Famous incense, full of pear orchards. The autumn color of the Han Palace, the shirt and tears, Mrs. Qi is on a par with Meng Haoran. The prince listened with relish, and suddenly there came an urgent report from the government. Things in Nanjing were urgent, so he asked the prince to go back to the army to discuss. After the prince left, Jia hurried back to his family. The Romance of the Three Kingdoms by Jia, Yan and Luo Guanzhong, in the sequel of Ghost Book, impressively lists the biography of Luo Guanzhong, the author of the Romance of the Three Kingdoms. There is not much information about Luo Guanzhong handed down from ancient times. The earliest, most comprehensive, detailed and reliable information is this short biography in the sequel to the ghost book. "Luo Guanzhong said, taiyuan, scattered in the lake. Widowed with others. Yuefu argot is extremely fresh. Make friends with Yu because he forgot to celebrate the New Year. It's been a long time, so we live far apart. Zheng Zheng Chen Jia (1364) reconvened the meeting. After more than 60 years, I don't know where it will go. "It is more appropriate for Jia to use the word' fresh' to summarize the style of Luo Guanzhong's opera works, because it conforms to Luo Guanzhong's zaju works (Dragon and Tiger Club of Zhao Taizu). Luo Guanzhong and Jia are "forgotten friends". Forgetting friends means that regardless of age and peers, they become bosom friends because they appreciate each other in talent and moral quality. Thus, Luo Guanzhong and Jia are very different in age. This gap is at least twenty years. When applied to Luo Guanzhong and Jia, there are two different interpretations. One explanation is that Jia is about twenty years older than Luo Guanzhong. Another explanation is that Luo Guanzhong is about twenty years older than Jia. The late Yuan Dynasty and the early Ming Dynasty were a chaotic and turbulent era. The place where they make friends is probably Hangzhou. After that, they broke up. Far apart, not in one place, there is no chance to meet. " Tianya Haijiao reflects the experiences of some literati in the late Yuan Dynasty and early Ming Dynasty. This is their favorite sentence at that time. In The Romance of Three Kingdoms, Luo Guanzhong used this word more than once. After Luo Guanzhong befriended Jia, they met again that year. Zhi Zhi was the last title of the last emperor of the Yuan Dynasty. Chen Jia lived in Zheng Zheng for twenty-four years (1364). It will be four years before the official start of the Ming Dynasty, that is, the first year of Hongwu (1368). Romance of the Three Kingdoms