Study On The Five Kinds Of Xiaozhai’s Chinese Opera By Nanshan Yishi

Nanshan yishi,whose name was Chen yuding,was a native of Yixing,Jiangsu province.He was born in the 28 th year of Wanli in the Ming dynasty(1600)and died in the 18 th year of Shunzhi in the Qing dynasty(1661).His literary works include Lin zhiding,a book that explains the meaning of The Spring and Autumn Annals.Poems,Bei Xixiang Guben and the ten kinds of Xiao zhai’s Chinese Opera.Due to various reasons,his poems,Bei Xixiang Guben and half of the ten kinds of Xiao zhai’s Chinese Opera were lost,while the only extant works are Lin zhiding and t he ten kinds of Xiao zhai’s Chinese Opera,which included in Banbihan,Zhanggongmei,Zhonglangnv,Jingzhaomei,Cuidianyuan.Nanshan yishi in the early years of the jinshi,into the official,after being cashiered.During the Hongguang period,he was promoted,but he was cleared after the Qing dynasty entered the customs.Then he became an official in the Qing dynasty,was dismissed,settled in Jingkou.After the participation in the rehabilitation of the arrest prison,ordered to be killed.Because of his life in the late Ming dynasty,spanning two dynasties,witnessed the corruption during the late of Ming dynasty political,fierce partisanship and sharp ethnic tensions,after the collapse of the different period,death,so he reflected on the cause of the Ming,borrow the characters reveal the mouths of the darkness and corruption of the bureaucracy of the Ming dynasty expressed the hope of the country’s stability.He realized that under the cruel social reality at the end of the Ming dynasty,the country was bound to perish,and attributed the fall of the Ming dynasty to the trick of fate.This helplessness for the trick of fate gradually gave rise to the idea of retreat,which was clearly revealed in the five kinds of Xiao zhai’s Chinese Opera.In short,the pain of national subjugation,the desire for peace,the theory of destiny and the heart of seclusion of the dead people in the late Ming dynasty are all expressed in the five kinds of Xiao zhai’s Chinese Opera.Nanshan yishi created the hermit,the talented woman,the emperor,the villain and other characters with very distinct personalities in the five kinds of Xiao zhai’s Chinese Opera.During the transition of the Ming and Qing dynasties,zaju and legend interacted and interpenetrated with each other.This situation is reflected in the five kinds of Xiao zhai’s Chinese Opera,but it more reflects the influence of legend on zaju.In terms of structure,Banbihan,Zhanggongmei,Zhonglangnv,Jingzhaomei follow the structural system of zaju.However,Nanshan yishi renamed each "folding" as "eqi",and each eqi followed the two-character form of the legend of nanqu,reflecting the influence of the legend of nanqu on the northern zaju.In the role’s arrangement,Nanshan yishi breakthrough zaju restrictions,bold use of legendary Settings,and no longer follow the system of a lead singer,the play has a solo,singing,singing and chorus.The costume of the characters in the drama changes at any time according to the identity of the characters and the occasion,so that it is more suitable for the performance on the field,which is a kind of countervailment to the tendency of tablization of zaoju in the late Ming and early Qing dynasties.Although there is no record of its performance,it has a great possibility to perform on the stage.In terms of language style,the five kinds of Xiao zhai’s Chinese Opera is composed of poems from the tang dynasty,with overlapping words and allusions.It belongs to the "song on the field".In a word,the five kinds of Xiao zhai’s Chinese Opera reflects the emotions of the remnant people in the period of the imperial revolution,so it has great ideological value in studying the mentality of the literati in the late Ming and early Qing dynasties.In the whole history of opera development,the five kinds of Xiao zhai’s Chinese Opera is not first-class,but in the late Ming and early Qing dynasty zaju works,it is excellent.It shows the thought that Nanshan yishi could judge the situation in his creation: he not only conforms to the trend of opera development,but also inherits and innovates in the process of development and dares to challenge the tradition.The existence of the five kinds of Xiao zhai’s Chinese Opera provides material support for scholars to clarify the development of zaju,which can make future generations understand the overall features of zaju in the late Ming and early qing dynasties in more detail.