Zhugong Diao is an ancient traditional folk art, belonging to a large-scale rap literature in the Northern Song, Jin and Yuan dynasties of China. It was developed on the basis of Bianwen and Jiaofang Daqu and Zaqu. It got its name from the collection of several sets of tunes with different palace tunes that were sung in turn. Zhugong Diao is mainly about singing, and because it is accompanied by musical instruments such as pipa, it is also called "Tanci" or "Xiansuo".

Zhugong Diao, from the reign of Shenzong Xining to Zhezong of the Northern Song Dynasty, Kong Sanchuan, an artist from Zezhou (today's Jincheng, Shanxi Province), came to Tokyo where hundreds of flowers were blooming for artistic performances, and was the first to create Zhugong Diao.

Zhugong Diao is composed of two parts: verse and prose. It is sung in an alternating manner between singing and speaking. It is a narrative style, and some of the lyrics are close to the speaking style. Zhugong Diao opened the way for later generations of opera music. In the Song Dynasty, Song operas were sung to the tunes of Zhugong Diao. By the Yuan Dynasty, its tunes had an important influence on the formation of Northern Zaju, and its important artistic methods were absorbed by Yuan Zaju. It laid the foundation for the maturity of Chinese opera art. It is recorded in the volume of "Biji Manzhi" sent to Wang Zhuo of the Song Dynasty: "Between Xifeng and Yuanyou... the third biography of Kong San in Zezhou was the first to create the ancient biography of Zhugong Diao, and all the scholars and officials can recite it." The so-called Zhugong Diao. Compared with the rap form that is limited to one palace tune, the singing part is composed of multiple palace tunes connected in series, and a certain amount of narration is inserted during the period to cooperate with the lyrics to narrate a long story with characters and plots. Basic introduction Chinese name: Zhugong Diao Essence: a form of rap Historical evolution: Originated in the Northern Song Dynasty, popular in the Southern Song, Jin and Yuan Dynasties Representative works: "Zhugong Diao" in the West Chamber Background of production, historical evolution, Northern Song Dynasty, Southern Song Dynasty, Yuan, Ming and Qing Dynasties, modern times , original characters, performance forms, singing methods, artistic characteristics, representative works, Liu Zhiyuan, the legacy of the Book of Heaven, Romance of the West Chamber, influence value, production background Zhu Gong Diao is a rap technique in the Song Dynasty of China, because it collects several sets of different palace tunes and sings them in turn , hence the name. Gong is the first-level tone in various musical scales in ancient China. The music with Gong as the starting point of the scale is called Gong tune. A complete long tune composed of various palace tunes is called Zhugong tune. The Zhugong Diao of "The Romance of the West Chamber" is also called the "huaben". For example, the first volume of "The Romance of the West Chamber Zhugongdiao" uses "this Huaer" to refer to the story that will be rapped; the 51st chapter of the 120-chapter version of "Water Margin" writes about the Zhugong Diao actors. Bai Xiuying's opening remarks: "Today's Xiuying signboard clearly states that this story is a romantic and romantic style, called "Yuzhang City Shuang Jie Su Qing". This shows that Zhugong Diao and folk speech are twin artistic types. The virtuality and reality of the speaking styles appearing in Zhugongdiao works are closely related to the simulation of characters' voices in novels. Zhugong Diao is closely related to previous rap, singing and dancing. It inherited the system of alternating prose, rhyme and prose in the Tang Dynasty, and developed Guzi Ci, which repeats the same word tone many times with white lines in between, "turning step", which uses one poem and one word to sing alternately and combines it with singing and dancing, and the collection of several identical words. The tunes of Gong Diao are a suite of songs with a "sing and earn" structure. Compared with the above-mentioned Guzici, Zhuanta and Singzhengzi, Zhugongdiao is larger in length and has a more grand structure, and can express more complex content. On the one hand, it can allow the story to develop freely like a long narrative poem; on the other hand, some of its lyrics also have the characteristics of speaking style, which can create the effect of seeing the person and hearing the voice. Because it interactively uses tunes with different palace tones and vocal emotions, it also provides conditions for expressing relatively rich emotional content. It is a transitional form in the evolution from rap, song and dance to opera. Historical evolution Northern Song Dynasty Zhugong Diao began in the Northern Song Dynasty. Volume 2 of Wang Zhuo's "Biji Manzhi" of the Song Dynasty records that in the first year of Xining, "there were three biography of Kong in Zezhou, who pioneered the ancient biography of Zhugongdiao". Volume 20 of Wu Zimu's "Mengliang Lu" contains the record of "singing and rapping various palace tunes. Yesterday there were three legends from Kong in Bianjing, compiled into legendary ghosts, and put into music and rapped". Volume 5 of Meng Yuanlao's "Tokyo Menghua Lu" records that since Chongning and Daguan, the "Jingwa tricks" include "Confucius San Chuan plays the tune of scholars in various palaces". Zhugong Diao matured around the time of the confrontation between Song and Jin Dynasties and reached a very high level. The extant "The Romance of the West Chamber Zhugong Diao" written by Dong Jieyuan during the Jin Dynasty can be said to be one of its representative works. Book and photo of "Liu Zhiyuan Zhugong Diao" Southern Song Dynasty. During the Southern Song Dynasty, "Mengliang Lu" recorded that "Singing Zhugong Diao... Today in Hangzhou, there are female streamers Xiong Baobao and other girls who follow this example. They are also good at singing and singing, and they are the same on the upper drum board." According to records in "Mengliang Lu", "Old Martial Arts", "Yi Jian Zhi" and other books, after the southern crossing, there were about 6 or 7 people with known names in the palaces in Lin'an (now Hangzhou), the capital.

After Zhugong Diao was spread to the south, due to the changes in tune tunes and tunes, Nan Zhugong Diao was born. For example, in the play "Zhang Xie Zhuangyuan" in "Yongle Dadian", there is a Zhugong tune with lyrics that is Nanzhugong tune. At the same time, there were some changes in music introduced to Yanjing and other places in the northern Jin state. During the Southern Song Dynasty, Zhugong Diao was quite popular. Among the "Zhuse Opera Artists" recorded in Volume 6 of Zhou Mi's "Old Martial Arts", there is a "Legend of Zhugong Diao", which mentions that there were four Zhugong Diao actors at that time, including "Gao Langfu". In Volume 10 of the same book, "Official Zaju Segments", there are two official Zaju operas "Zhugong Diao Gua Seer" and "Zhugong Diao Bawang" sung in Zhugong tune, which were still popular in the Yuan Dynasty. Judging from the Yuan drama "Zhu Gong Diao Fengyue Ziyunting", in the late Song Dynasty and the early Yuan Dynasty, there were also Zhugong Diao troupes that "rushed into the state to attack the government" and moved around to perform "stages". Xia Tingzhi's "Butterfield Collection" of the Yuan Dynasty records that opera actors Zhao Zhenzhen, Yang Yu'e, Qin Yulian, Qin Xiaolian, etc. once sang various palace tunes. But by the end of the Yuan Dynasty, all palace tunes gradually declined. Volume 27 of Tao Zongyi of the Yuan Dynasty's "Nancun Stops Farming" records: "The Romance of the West Chamber was compiled by Dong Jieyuan during the reign of Emperor Zhangzong of the Jin Dynasty. It was not long ago, and there are still few people who can interpret it." Therefore, all palace tunes tended to decline. During the Yuan, Ming and Qing Dynasties, Yuan Zaju entered its prosperous period, and the palace tunes began to decline. Over time, it gradually became unfamiliar to people. During the Ming and Qing dynasties, people no longer knew what Zhugong Tiao was, and the names of "Dong Xixiang" were mixed. Zhu Quan called it "Beiqu" ("Taihe Zhengyin Pu"), Hu Yinglin called it "legend" ("Shaoshi Shanfang Bi Cong"), and Xu Wei called it "playing and singing lyrics" ("Bei Ben Xixiang Ji Inscription") , Shen Defu called it "Yuanben" ("Gu Qu Zayan"), Mao Qiling called it "? Tanci" ("Xihe Cihua"), and Liang Ting called it "Xiansuo" ("Quhua"). It can be seen that people in the Ming and Qing Dynasties were at a loss about the palace tunes. Zhu Gong Tiao Tu retains its name, but in fact (the entity of the work) has been lost. The main reason for the physical loss of the works is that Zhugong Diao declined quickly after the rise of Yuan Zaju, and the works were lost one after another. Although "Dong Xixiang" has been completely preserved, because Zhong Sicheng's "Guilu Book" called it "Yuefu", later generations did not know that it was a work of Zhugong Diao. Although Wang Bocheng's "Tianbao Yishi" indicates that Jia Zhongming's "Sequel to the Record of Ghost Book" is Zhugong Diao, because only the lyrics of the music remain and have been "quified", it is different from the "ci style" Zhugong Diao of "Dong Xixiang" There is a great deal of variation in the works. When people use "Tianbao Yishi" as a reference, it is difficult to connect "Dongxixiang" with Zhugongdiao. And because scholars of the Ming and Qing Dynasties could see only these two works of Zhugong Diao, they were unable to explore the evolution trajectory of Zhugong Diao from "ci style" to "qu style". Therefore, for a long time, people did not know what kind of artistic work "Dongxixiang" was, and had to make random guesses, leading to such a variety of titles. Modern Times It was not until the beginning of this century that the lost entities of Zhugong Diao were recovered. The great scholar Wang Guowei was the first to discover that "Dong Xixiang" was a work of Zhugong Diao. In the "Qu Lu" written in 1908, he still classified "Dong Xixiang" and "Tianbao Legacy" into the "Legend Department". It was not until 1912 that "Dong Xixiang" was verified to be a Zhugong Diao work: "This compilation ("Tianbao Legacy") "Dong Xixiang"), there are three evidences for Zhugong Diao: Volume 1 of this book, "Taiping Zhuanci" says: "My temperament has always been wild and wild, and it is difficult to restrain my wild temperament. What do you think about when you get home? There are many poems and love songs. Compared with the former Xian Yuefu, it is not as popular as the music of the previous sages, but it is popular among the palace tunes. "This opening book narrates the origin of the lyrics, and Ziyun is in Zhugong Diao, which proves it. Yuan Lingyunhan's "Zhexuan Ci" has the poem "Ding Fengbo" and "Cui Yingying's Biography" says: "After reading the old edition of Zhugong Diao in Can Jin, it is People listen when the time comes. "Then the "Xi Xiang Ci" written by the Jin Dynasty people is the tune of various palaces, which proves the second reason. The style of this book and the ancient tunes are not similar. Du Yuan Wang Bocheng's "Tianbao Yishi" can be found in "Yongxi Yuefu" and "Jiugong Dacheng" "The selected ones are roughly the same. In the volume of "Recording Ghost Book" written by Yuan Zhong Sicheng, Wang Bocheng wrote: "There are "Tianbao Yishi" in which all palaces are adjusted in the world. "Since Wang's Ci is a Zhugong tune, there is no doubt that Dong's Ci is a Zhugong tune." Wang Guowei's research is powerful. Soon, "Liu Zhiyuan Zhugong Diao" and the play "Zhang Xie Zhuangyuan" were discovered successively, which proved that Wang Guowei's judgment was correct. The long-lost Zhu Gong Diao works have been recovered, which is undoubtedly a major event in the academic world, and Wang Guowei is indispensable. Since then, a new field has opened up in the field of poetry and music—the study of Zhugong Diao. Wang Guowei was a pioneer in this field. As Zheng Zhenduo said in "Tiao Gong Diao of Song, Jin and Yuan Dynasties": "The study of Zhu Gong Diao should start with the Wang family." "Liu Zhiyuan Zhu Gong Diao" was published from 1907 to 1908. Found in the ancient city of Heishui, Xinjiang. Zheng Zhenduo obtained a manuscript from Xiang Da, and later saw a video of the original book from Zhao Feiyun.

In 1932, Zheng Zhenduo wrote "A Study of the Palaces in Song, Jin and Yuan Dynasties", which laid the foundation for the study of palaces in my country. Since then, the artistic style of Zhugong Diao has attracted the attention of more and more scholars. Zhugong Diao, the first person to create Zhugong Diao, is mainly about singing. According to "Biji Manzhi" written by Wang Zhuo of the Song Dynasty, Zhugong Diao was first created by Kong Sanchuan from Zezhou (today's Jincheng, Shanxi Province) from Xining to Yuanyou years in the Northern Song Dynasty. It is a type of tune based on Rap music is rich in sexual changes (both in pitch and mode) and is named after it. It was first founded in Tokyo (Kaifeng), the capital of the Northern Song Dynasty. Around the time of Shenzong Xining and Zhezong of the Northern Song Dynasty, Kong Sanchuan, an artist from Jincheng, Shanxi (then known as Zezhou), came to Tokyo where hundreds of flowers were blooming for artistic performances, and was the first to create Zhugong Diao. Its forms of expression include speaking and singing, with singing being the main form. The spoken part is vernacular prose, and the sung part is verse composed according to the specifications of different palace tunes. The music absorbs the essence of music from previous generations and folk tunes from the Song Dynasty. The accompaniment can be small or large, it can be one or two small instruments, or it can be a band composed of multiple instruments. Among the famous actors of various palace tunes listed in the fifth volume of "Tokyo Menghualu" "Jingwa Skills", the first one is Kong Sanzhuan, and there are also Xiucai. Its origin is clearly explained in the section "Washe Zhongji" in "Capital Records": "The palaces transferred the biography of Kong San of the capital (Kaifeng), compiled legendary ghosts, and put them into songs and raps." This novel and lively literary and artistic style The style is very popular whether it is on the tile hooks or in the mansions of dignitaries. It is a pity that the works of that time have not been handed down. After Zhugong Diao was founded in Tokyo, the capital of the Song Dynasty, it not only made the entire Song Dynasty rap and folk art more colorful, but also influenced later generations of opera. The formation of Yuan Zaju was directly influenced by Zhugong Diao, and the shadow of Zhugong Diao can still be seen in modern opera and many folk art programs that combine rap and rap. According to the second volume of "Biji Manzhi" written by Wang Zhuo of the Song Dynasty: "... there are three biography of Kong in Yanzhou, who are the first to create the ancient biography of Zhu Gong Tiao, and all the scholars and officials can recite it." Since "all scholars and officials can recite it", it can be seen that the singing art of Zhugong Diao was very popular among the literati at that time. However, the "Manuscript of the History of Ancient Chinese Music" records: "Most of the compilers of "Zhugong Diao" were not literati but folk artists." No matter who the creators and appreciators of Zhugong Diao are, it is not difficult to see from the existing Zhugong Diao that the content of its lyrics is more literati, and its wording is also very elegant, which is very similar to the popular, simple and concise folk song lyrics. Big difference. This "elegant" characteristic is also due to the source of its music - big tunes and lyrics, which are mostly literati music. Zhugong Diao Although the singing form of Zhugong Diao has declined by the Ming Dynasty, as stated in "Zhuigeng Lu", although Dong Xixiang was not far away during the reign of Jin Zhangzong, few people could understand it. Having said that, Zhugong Diao has laid a solid foundation for the formation and development of Nanbei music. The performance form Zhugong Diao is one of the popular rap literary forms in the Song, Jin and Yuan Dynasties. It combines several tunes of the same palace tune into a short set, with the first and last rhymes, and then uses many short sets of different palace tunes to connect into a long story, so it is a long story. It is called "Zhugong Tiao" or "Zhugong Tiao". And because it is accompanied by musical instruments such as pipa, it is also called "Tanci" or "Xiansuo". "Liu Zhiyuan's Zhugong Diao" Zhugong Diao consists of two parts: verse and prose. It is sung in an alternating manner of singing and speaking. It is basically a narrative style, and some of the lyrics are close to the speaking style. Zhugong Diao classifies Daqu, Ci Diao, Mao Ling, Maang Da, Chang Zhuo and popular folk music in the north since the Tang and Song Dynasties into different Gong Diao according to their rhythm, and is used to tell stories. "Tokyo Menghua Lu" records that Confucius Sanzhuan and Xiucai once sang in Bianliang, Kyoto (now Kaifeng). After each verse of Zhugong Diao is sung, there is a short narration so that another Gong Diao can be continued. The lyrics can be long or short, and are relatively flexible; one or two sets of tunes can be used to continuously sing long stories, with a huge capacity, vivid descriptions of objects and scenes, and popular and vivid language. In terms of art, it has surpassed various rap arts in the past and won the title of People love it. The original form of Zhugong Tune is composed of Jun tunes of different Gong Tune (pitch and mode), with interludes between each tune. For example, the Zhu Gong Tune at the beginning of the Southern Opera "Zhang Xie Zhuangyuan" uses "Feng Shichun" (Nan Xian Lu Palace), "Xiao Chong Shan" (Nan Shuang Diao), "Lang Tao Sha" (Nan Yue Diao), "Wei Si Yuan", "Wandering around the Chi" (Nan Shang Diao) and other five different palace tunes. The songs are connected together, and each song is also interspersed with narration. Later, in its development, it continued to absorb new elements from other song arts (such as singing and singing, etc.), and its musical forms were constantly enriched. For example, "Liu Zhiyuan Zhu Gong Diao" not only used collections of different palace tunes, but also used different A suite of palace tunes. The late Northern Song Dynasty was the heyday of Zhugong Diao.

Although Zhu Gong Diao originated in the north, it also spread to the South as the Song Dynasty moved southward, and thus it was divided into Northern and Southern Zhu Gong Diao. The main difference between the northern and southern palace tunes is the change of tune spectrum. According to the opinion of researchers, the accompaniment instruments of Southern Zhugong Diao are mainly flutes; while those of Northern Zhugong Diao are pipa and zither. "Dong Jieyuan's Story of the West Chamber" is the Northern Zhugong Diao, also known as "Xian Suo Xixiang"; there is a Zhugong Diao tune in the Southern Opera "Zhang Xie Zhuangyuan" which is the Southern Zhugong Diao. The most complete modern Zhugongdiao works are "The Romance of the West Chamber Zhugongdiao" by Dong Jieyuan of the Jin Dynasty, and the incomplete one is "Liu Zhiyuan Zhugongdiao". The emergence of Zhugong tune opened the way for later generations of opera music. There are two forms of suites: one is a tune of the same palace tune repeated two or three times and then ends, the other is a form of several different tunes of the same palace tune followed by an ending to form a lingering tune. The singles and suites of different palace tunes are combined into a large-scale suite. The singing style of the palace tunes is in line with the traditional rap art. Its lyrics still belong to the Tang and Song lyrics systems. Its eloquence is affected by speech. It also absorbed the strengths of Guzi Ci, Daqu, Song Dynasty drama, Guanling, Singzhuo and other arts to enrich its own artistic system. Zhugong Diao Zhugong Diao has its own unique music system. Judging from the palace tunes and tunes, it inherits the lyrics of the Song Dynasty and the Northern and Southern Songs. There are three types of combinations of music units: one song alone, one song with tail, and multiple songs with tail. Its singing method is performed by one person, and its accompaniment instruments are mainly percussion instruments, such as gongs and drums, clappers, square horns, etc. The tunes of Zhugong Diao come from Ci tunes of Tang and Song Dynasties, Daqu of Tang and Song Dynasties, Mao Ling from Song Dynasty and other popular folk songs at that time. From the surviving works of Gong Tiao, we can see that its musical forms include: a single tune of a single tune; a short set consisting of one tune repeated or repeated multiple times with an ending; several tunes belonging to the same Gong Tune. A connected suite of songs. These types of music are organized in different ways according to the needs of the story content and plot, and are occasionally narrated to tell long stories. As the Song Dynasty moved southward, the palace transfers spread to the south. For example, in the Yuan Dynasty, the unknown opera "Zhang Xie Zhuangyuan" ("Yongle Dadian Opera Three Types") was written by an unknown person. The beginning of the opera consists of a section of Zhugong tune sung by Mo Se, which is one example. The accompaniment instruments used in Zhugong Diao mainly used drums, boards, and flutes in the Song Dynasty; in the Jin and Yuan Dynasties, string instruments and other percussion instruments were also used. Therefore, people in the Ming and Qing Dynasties also called Zhugong Diao "Tanci" or "Tanci". ". The singing method of Zhugong Diao, according to "Mengliang Lu" records, in the early days, drums, board, flute and other accompaniments were used. When Zhugong Diao was performed in the Song Dynasty, the speaker usually played the drums himself, and was accompanied by others with flutes, clappers and other musical instruments (Song Hongmai's "Yi Jian Zhi"). Sometimes it could also be accompanied by a water lamp alone. Chapter 51 of "Water Margin" describes that when the artist Bai Xiuying sings, she beats gongs and clappers, accompanied by pipa or zither accompaniment, and has switched to string instruments. The palace tunes are both spoken and sung, with singing being the mainstay. After each melody is sung, there is a short narration so that a new tune can be sung and the next song can be sung. Each piece of music and lyrics may be a double tune, or a double tune with an ending, or it may be combined with several tunes from the same palace tune to form a suite, with some parts being sung as singles. Since each piece of music and lyrics can be long or short, it is relatively flexible and can be sung continuously with one or two hundred sets of tunes, making it easy to tell long stories, describe objects and scenes, and depict characters vividly, and the language is popular and vivid, leaving a lasting impression at the end of each chapter. The suspense is very attractive to the audience, and artistically surpasses all previous rap art forms. Artistic Features Zhugong Diao is a large-scale rap form composed of different Gong Diao that was the culmination of various schools of thought during the Song, Jin and Yuan dynasties. The name Zhugong Diao comes from the fact that it uses a variety of palace tunes, multiple tunes, and a grand structure, and is good at expressing complex storylines. It is a pity that most of the Zhugong Diao has been lost in the process of inheritance. There are very few "Zhugong Diao" books available today. Including fragments, there are only "Liu Zhiyuan Zhugong Diao" of the Song Dynasty and "The Romance of the West Chamber Zhugong Diao" by Dong Jieyuan of the Jin Dynasty. wait. The latter is referred to as "Dong's "West Chamber"" and is the most complete work preserved at present. All the text and one-third of the music score are now included in "Jiugong Dacheng Nanbei Ci Gongdiao". Now see "Xinding Jiugong Dacheng North and South Ci Gong Pu Translation", Dong's "West Chamber" is included in the northern Ci section. This should be related to the fact that it absorbed the northern music at that time. After a brief analysis of the existing tunes of "The Romance of the West Chamber" in Northern Song Dynasty, it is not difficult to see two remarkable features: First, most of them are in the eye-rising tune, that is, singing with a weak beat. This is one of the distinctive features of northern music. Second, most of these tunes end in the feather sound, which belongs to the feather-terminated group music. Why do they end in Yuyin more often? This has to do with the origin of the tune.

Zhugong Diao mainly comes from the evolution of Tang and Song Dynasty tunes and lyrics. As we all know, the Tang Dynasty was an unprecedentedly prosperous dynasty. The opening-up policy at that time promoted cultural exchanges with the outside world. As a result, Mongolian music, Western music, Indian music, etc. were introduced one after another, thus promoting the vigorous development of music in the Tang Dynasty. Among the folk music we come into contact with, most of the sibling ethnic groups and foreign music outside the Han nationality have the most distinctive features of Yu group music. Therefore, the outstanding Yu mode characteristics of Zhugong Diao are probably after the great integration of Chinese ethnic music and foreign music in the Tang Dynasty. product. It can be seen that these two musical characteristics of Zhugong tune are closely related to the source of its tune. Among the representative works that have survived today is the "Liu Zhiyuan Zhugong Diao" written by Jin Wumingshi in the early 12th century, which tells the story of Liu Zhiyuan, the founder of the Later Han Dynasty, who rose to greatness and prospered during the Five Dynasties. There are 12 chapters in the full text, but less than 5 are extant today. Dong Jieyuan's Zhugong Diao of the West Chamber written by Dong Jieyuan during the reign of Jin Zhangzong (see "Dong Jieyuan's Xixiang Ji") is the only Zhugong Diao work that has been completely preserved so far. The above two types of palace tunes were created at the same time as the two Song Dynasties, and the palace tunes used are also relatively close to those used by Song Jiaofang, which shows the musical inheritance relationship between the early palace tunes and the song music of the Song Dynasty. In addition, Yuan Za playwright Wang Bocheng wrote "Tianbao Legacy Zhugong Diao", which takes the story of Li Longji and Yang Yuhuan as its theme. There are 54 suites and sporadic pieces in existence today, which can be found in Yongxi Yuefu, Jiugong Dachengpu, Taihe Zhengyinpu and Beici Guangzhengpu. The palace tunes, tunes and combinations of tunes (including the length of the suite and the coordination of tunes) used in "Tianbao Yishi Zhugong Diao" are all close to Yuan opera, which illustrates the musical development and changes of Zhugong Diao to the Yuan Dynasty and the interaction with Yuan opera Influence. Judging from the existing data, the palaces were located in the north, especially during the Jin Dynasty, and had great development. The content of palace tunes in Song and Jin Dynasties is quite rich. Yang Lizhai of the Yuan Dynasty recorded in his collection [Banshe Diao·Shaobian]: "Zhang Wuniu, Shang Zhengshu, compiled Shuangjian Xiaoqing". "Cui Tao Encounters the Female Tiger", "Zheng Zi Encounters the Demon Fox", "The Silver Vase at the Bottom of the Well", "Two Women Seizing the Husband", "A Beautiful Girl Leaving the Soul", and "The Visit to Cui Hu" are mentioned in the text of "The Legend of the West Chamber". ”, “Liu Yi’s Biography”, etc. The Yuan drama "Zhu Gong Diao Fengyue Ziyunting" mentions "Three Kingdoms", "History of the Five Dynasties", "Seven Kingdoms", "Six-Armed Nezha", etc. It can be seen that the content of Zhu Gong Diao involves smoke powder, ghosts, simple knives, The subject matter is quite wide, including rods, mythology and history. The literary significance of Zhugong Diao is very obvious. Its themes can be roughly divided into three categories: historical themes, love themes, and family and marriage themes. Some of these themes have a kick-start effect on later dramas and novels. Zhugong Diao has the artistic characteristics of popular literature, which is manifested in the popularization of language, secularization of ideological content and popularization of aesthetic taste. The themes expressed in the palace tunes have a great influence on future generations and have far-reaching significance in the history of literature. Liu Zhiyuan The author of "Liu Zhiyuan Zhugong Diao" is unknown, and only a fragmentary copy remains. The original book had 12 volumes, but now only one end and one volume remain, totaling 5 volumes. The work tells the story of Liu Zhiyuanfa and his joys and sorrows with his wife Li Sanniang. Its specific plot and details are different from those of "Five Dynasties Shi Ping Hua" and the Southern Opera "White Rabbit". The language is simple and there are occasional errors in the sentences, so it must not have been written by a literati. Yuehui Zhang Sheng Tianshu Yishi "Tianshu Yishi Zhugongdiao" was written by King Bocheng of the Yuan Dynasty. The original work has been lost. There are currently 60 lost copies of this collection, including lyrics and lyrics but no narration. The work narrates the love story of Li Longji and Yang Yuhuan during the Tianbao period and the separation of their lives and deaths caused by the "Anshi Rebellion"; there is sympathy for the tragic fate of Li and Yang, as well as the "intimate affair" of Yang Yuhuan and An Lushan. "The condemnation also contains criticism of "Xuanzong's immorality", and the ideological content is relatively complex. His diction is known for its elegance and smoothness. The Romance of the West Chamber Dong Jieyuan's "Romance of the West Chamber Zhugong Diao" is also known as "The Romance of the West Chamber Tanci" or "Xian Suo Xixiang", commonly known as "Dong Xixiang". "Dong Xixiang" is the only complete version from the Song and Jin Dynasties that has been preserved. It is also one of the longest verse works in Chinese literature. It can be called an epic of love and represents the highest level of rap literature in the Song and Jin Dynasties. At the same time, it is also the most perfect work that wrote the love story between Cui Yingying and Zhang Sheng before Wang Shifu's "The Romance of the West Chamber". Dong Jieyuan's life story is unexamined. According to the records in "Lu Gui Bu" and "Zhuigeng Lu", we know that he lived around the middle of the Jin Dynasty during the Jin Zhangzong period (1190-1208). "Jie Yuan" was an honorific title given to scholars during the Jin and Yuan Dynasties, rather than "Jie Yuan" who ranked first in the provincial examination. He was an intellectual close to the lower class. He was bohemian by nature and regarded etiquette as dirt. He had profound literary accomplishment and was well versed in the legends of the Tang Dynasty, the poetry of the Song Dynasty and the folk palaces.

The theme of "Dong Xixiang" comes from Tang Yuanzhen's novel "Huizhen Ji" (also known as "The Story of Yingying"). The original work is a tragedy in which a man betrays his heart, becomes angry and finally gives up, causing humiliation and harm to a woman. "Dong Xixiang" has a grand structure and richly varied plot. It changes the original legend of less than 3,000 words into a rap literary work of more than 5 words, and expands it into a story of 193 suites containing 14 palace tunes. It is a sung-length novel that completely changes the ending of the story, changing a tragedy of chaos and abandonment into a happy ending. It corrects the original work's belief that Yingying is a "beautiful thing" and praises Zhang Sheng's behavior of chaos and abandonment. It is the feudal concept of "making up for one's faults with kindness". Many more plots have been added, such as a chance meeting in the Buddhist temple, chanting under the moon, a scene in the Taoist temple, Zhang Sheng's lovesickness, Yingying asking about illness, farewell in the pavilion, and a dream in a village shop. At the same time, the characters such as Yingying, Zhang Sheng, the matchmaker, and the old lady have also become more three-dimensional and fuller, no longer single and stereotyped. Because of these many changes, Cui Zhang's story not only has a legendary nature, but also has an anti-feudal theme. "Dong Xixiang" describes the tortuous and touching love story between scholar Zhang Gong and Prime Minister Cui Yingying. Scholar Zhang Gong went to court to take the exam. He passed by Pujiu Temple and met the prime minister's daughter who came to recommend him to his late father. The two fell in love at first sight. However, Yingying was already engaged and was betrothed to her cousin Zheng Heng. The rebel Sun Feihu led his troops to surround the temple and made an unreasonable demand to marry Yingying. Zhang Gong stepped forward and wrote to General White Horse to relieve the siege. Cui's mother originally promised that those who could quit the army could marry Yingying, but she regretted it later and was unwilling to marry her daughter to Zhang Gong, who was poor and powerless. Yingying was very dissatisfied with her mother and resisted angrily. With the help of the clever matchmaker, Zhang Gong and Yingying finally broke through the shackles of feudal ethics and came together bravely. After Cui's mother discovered the affair between the two, she forced Zhang Gong to go to Beijing to take the exam. He could not come back to see Yingying unless he got the honor. The two lovers said goodbye with tears. Zhang Gong went to Beijing to take the exam, passed the exam in one fell swoop, and returned home in fine clothes. He was finally reunited with Cui Yingying, and the lovers finally got married. The whole book focuses on the conflict between Cui and Zhang and the old lady. The love entanglement and character development between the male and female protagonists are staggeredly described. At the same time, the activities of other people are cleverly interspersed to make the story develop smoothly. Especially at the critical juncture of the story, he deliberately coils his horse and bends his bow, delaying his return, and often uses the alternating writing methods of "suddenly a matchmaker comes" and "suddenly loves him" to create a scene of smoke when the situation is at the end of the road. Zhang Sheng and Cui Yingying are love images created by the author with great praise. In "Dong Xixiang", Cui Yingying is no longer a weak character who has been wronged and can only express her sorrow in poems and letters. Her marriage proposal and bold elopement are quite bold. The author focuses on showing her brave struggle and boldness. Pursue. At the same time, her personality traits are revealed delicately and vividly. Zhang Sheng, on the other hand, is no longer the Bo Xinglang who was always in chaos and finally gave up. He is a sincere, dedicated, innocent and lovely poor scholar. He tried every means to get close to Yingying, rented a house in the west wing, made an excuse to have a fasting, and recited poems under the moonlight, showing great perseverance. He is a scholar, but he wants to woo the lady of the prime minister's palace. He is not from the right family, and has no matchmaker. This kind of persistence that he knows cannot be done but insists on doing it shows Zhang Sheng's "crazy" and "dumb" character. The matchmaker has become an active figure in "Dong Xixiang". This lower-class slave worked enthusiastically for Cui Zhang and fought bravely and tactfully against the old lady. She fully embodies the wisdom, humor and fighting spirit of the working people. Out of her noble moral character of adult beauty and her righteous resistance to the old lady's broken promise, she turned from a cold eye to enthusiastic support of Cui Zhang's love. She is the main image in the work that has the most power to challenge the feudal patriarchy. As a representative of feudal ethics and arranged marriage, the character of the old lady is also quite real and believable. She uses feudal traditional ideas to love and protect her daughter, but it brings restrictions to her daughter. She plans for her daughter everywhere, but hinders her happiness. She believes in ethics, but she is completely defeated by the love full of youthful vitality. Her failure was inevitable. In the history of Chinese literature, "Dong Xixiang" is the first successful work that takes free love as its theme and writes its entire process in a detailed and tortuous way. For thousands of years, it has been a hymn for young men and women pursuing free love. . Its literary achievements are also very high. Dong's poems are good at narration, and he can express them with ease no matter the scenery, atmosphere or plot development. The author is also good at refining the lively and lively spoken language of the people, absorbing the syntax and vocabulary of classical poetry, and writing simple and smooth lyrics. After the publication of "Dong Xixiang", it had a huge impact. It created a secret relationship between young men and women, resisting feudal parents, and finally a happy ending, which has been repeatedly created and used by future generations. Many outstanding writers such as Tang Xianzu, Cao Xueqin, etc. have drawn nourishment from it, and the creation of novels about talented men and beauties that appeared in later generations were also inspired by it.

This huge influence caused terror to the feudal rulers. The moral defenders of the Ming and Qing dynasties falsely accused it of "teaching obscenity" and repeatedly banned it and destroyed it. The influence value of Zhugong Diao opened the way for later generations of opera music. The Song Dynasty's "Old Martial Arts·Guanben Zaju Segments" contains two items: "Zhugong Diao Bawang" and "Zhugong Diao Gua Seer". It can be seen that Song Zaju was sung with the tunes of Zhugong Diao at that time. By the Yuan Dynasty, although the imperial tunes of rap and rap had gradually declined, their tunes had an important influence on the formation of Northern Zaju, and its important artistic methods were absorbed by Yuan Zaju. Yuan dramas are divided into the first version and the last version. Each version has one character singing the lead vocal to the end. The organization of the suites and the use of narrative techniques to describe war scenes are all directly influenced by Zhugong Diao. It laid the foundation for the maturity of Chinese opera art. Since Zhugong Diao is a folk art - a street art, it is rarely seen in literature and classics. Although Wang Zhuo said in the second volume of "Biji Manzhi" that "the biography of Confucius San in Zezhou was the first to create the ancient biography of various palaces, and all the scholar-bureaucrats can recite it", there is no such thing as the biography of Kong San in the writings of scholar-officials. Detailed information about the founder of Zhugong Diao. This is very regrettable. However, the status of Zhugongdiao in the history of Chinese literature and drama cannot be ignored in any case, and its role as a link between the past and the future is indispensable. Through Zhugong Diao, we can discover an important link in the evolution process of lyrics to music, we can see the artistic origin and formation process of Northern and Southern music, and we can understand the development and changes of the ancient Chinese music system in the Song, Jin and Yuan dynasties. Therefore, studying Zhugong Tune has important academic significance.