During the Ming and Qing Dynasties, from Chaozhou in eastern Guangdong to Quanzhou in southern Fujian, the love story of joys and sorrows between Chen San (famous Lin, whose name is Bi Qing, also known as Bo Qing) and Huang Wuniang (Bi Ju) has been widely circulated. Listen to Chaozhou folk songs:

There is bitter Meng Jiang on the east bank, Su six niang on the west bank, Shan Bo from Yingtai on the north bank and Wu Niang from Chen San on the south bank.

Obviously, in the eyes of local people, the love story of Chen Sanwu Niang has the same status as Meng Jiangnv, Su six niang and Butterfly Lovers. Quanzhou's "Lotus Song" also sings:

In June, the top of the litchi tree was red, Chen San rode upstairs, and Wu Niang threw a litchi record, breaking the mirror and getting a pair. I also warmly praised Chen Sanwu Niang's love of "getting in pairs".

In Chaoquan area, there are some beautiful legends about the love for Chen Sanwu Niang. In the old city of Chaozhou, there is a Wuniang dressing building. According to legend, Wuniang throws lychees on this building to Chen San, and freely chooses her beloved. There is a falling flower mountain at the junction of Fujian and Guangdong. According to legend, Wuniang eloped, passed through here, and fell flowers on the mountain. Later, the mountain was full of Shandan flowers. There is also a powder stream. It is said that when Wuniang crossed the stream, powder fell into the stream, making the stream and sand stained with rouge. These beautiful legends are full of imagination and romanticism, and full of local people's deep sympathy for Chen Sanwu's love.

According to the development process of Chen Sanwu Niang's love story, the note novel "Biography of Wonders" in Ming Dynasty is divided into paragraphs, and each paragraph has sub-titles, such as "The Evening of the Yuan Dynasty" and "The Story of Wonders", etc. There are about 70 paragraphs, which are combined into a book. Each paragraph is often preceded by a narrative story and suffixed with poems and songs, but there are also many paragraphs in which poems are integrated into the plot. For example, Chen San recited poems with a broom in On the Broom in Qing Cong, Wu Niang sent poems to Chen San to express her feelings in Reading the Willow Map of Ying Cong, and so on. There are even some paragraphs, only poems, such as Poems on Qing Guo Danxia Post, Poems on Danxia Post, etc. The full text is in classical Chinese, and there is no Chaoquan dialect. Although the structure and plot of this note novel are miscellaneous and the description is brief, it makes a relatively complete record of Chen Sanwu Niang's love process and preserves more original legends. Some of these legends, such as "Fireworks in Qing Dynasty", "A View of Music on People", "A View of Li" and "A View of Ying Liu Tu", are not available in traditional Chinese opera works that elaborate Chen Sanwu Niang's love story, because the performance of traditional Chinese opera has to be limited by performance time and stage space, and it is necessary to refine the plot and reproduce life in a highly general way.

From the perspective of Strange Tales, it mainly describes the free love between Chen Sanwu Niang, which has certain anti-feudal significance. However, the character Wu Niang in the book is too "afraid of being faked" and "afraid of being discussed", so she is more cautious and less enthusiastic, relying on Yichun's persuasion and even voting for Li Yichun instead. In particular, this book also wrote that Chen Sanwu Niang had an engagement by both parents, only by the road, and there was no sound for a long time. Therefore, Wu Niang insisted on falling in love with Chen San later, but it was "unbearable to send an alliance"; Chen Sanwu Niang was able to turn over the elopement case because of "pre-marriage". Obviously, this is to paint Chen Sanwu Niang's free love with feudal marriage paint, trying to blur the anti-feudalism of this love story, thus preaching for feudal ethics. In the book, it has been repeatedly written that Xian Ji's climbing bodes well for Wu Niang's marriage, and her marriage is a matter of fatalism. All these undoubtedly weaken the anti-feudal positive significance of this love story. Since then, there has been no such plot in Litchi Ji and Lijing Ji. It's smarter.

In the Ming Dynasty, there were about three kinds of opera works that perfunctory Chen Sanwu Niang's love story. First, the legend of Chen San's Mirror Grinding by an anonymous person, and the catalogue of Xu's Collection of Books are recorded, and there is no biography today, so it is impossible to explore. Second, the legend of "The Story of Litchi" by Anonymous, with fifty copies, was reprinted in the ninth year of Wanli in Ming Dynasty (158 1), and now it is reprinted in the tenth year of Guangxu in Qing Dynasty (1884). This drama festival is relatively concentrated, compact in structure, and the arrangement of the venue is relatively well adjusted, highlighting the main events and the main characters, such as Watching Lights, Responsible Media, Throwing into the Well, Throwing Li, Grinding the Mirror, Sweeping, Holding Water, Watching Flowers and Leaving an Umbrella. Jiang Ruizao's "Talk on Novel Branches" quoted "An Interview with Han Jiang", saying that there is another kind of "Litchi Story", which tells that Chen San saw off his brother in Chaozhou and traveled to Weiyuan, and met Wu Nian Shu Li on the embroidered floor, and wanted to hire him, but I heard that he had already made a promise to the Lin family. The curtain guest designed for Chen San, and hired six niang, the younger sister of Wu Nian. When they got married, they tried to marry Wu Nian, but the Lins got six niang, so they had to make mistakes. It is also said that Li Daiweng has The Legend of Wang Wu Niang. The hipster's performance of Litchi is similar to that of Li Weng, but different from this one. I haven't seen this book "Litchi Story", and I haven't heard of Li Yuyou's "Legend of Wang Wu Niang". There are rumors of different words, so I don't need to delve into them, so I will prepare them for your reference.

Third, the legend of Li Jing Ji by an anonymous person, with a full edition of 55 * * *, is now republished in the 45th year of Jiajing in Ming Dynasty (1566). The library of Japan University of Arts and Sciences has the complete edition, which is presented by Japanese friend Professor Hatano Taro for photography. At the end of this drama, the inscription says: "Because of the many errors in the previous version of Litchi Ji, the number of poems is reduced. Now, the second part of Chaoquan is added to Yan Chen's Goulan poetry, so that poets and poets can have a look at it in their leisure, and it is called Lijing Ji." It can be seen that this drama is based on Litchi Ji. Try to compare this play with Litchi, and we can see that:

First, there are some short cut scenes in this dramatic increase, such as "Running the Ambassador to Dengcheng" and "Waiting for Cheng", which not only enhances the density of plot cohesion, but also adjusts the arrangement of the protagonist's rest and rest. However, after Chen Sanwu Niang eloped, the cut scene was somewhat broken, and the development of the drama plot seemed to be delayed, so that the conflict affecting the drama could not rush to another * * *, that is, the struggle between Chen Sanwu Niang and the government.

Secondly, the drama has given full play to the changes of the characters' inner feelings by singing a long tune to some key venues, such as "Five Niangs Throwing into a Well", "Going upstairs to throw Li" and "Five Niangs Embroidery".

Third. There are several scenes in Litchi, which have been deleted by this drama, but some of them have been deleted appropriately, such as Meeting Li Gong, because this play and Seeking Li Gong can be merged into one; Some of them are improperly deleted, such as "Yi Chun Liu Umbrella", because it can show Yi Chun's wit, decisiveness, enthusiasm and Chen San's ambivalence about whether to stay or not.

In a word, Li Jing Ji has really improved significantly compared with Li Zhi Ji, especially focusing on shaping the artistic images of the main characters, Chen San and Wu Niang, so that people can understand their spiritual beauty. Therefore, this drama can be circulated on the stage for a long time, which expands the influence of Chen Sanwu Niang's love story.

Nanyin, which is popular in southern Fujian, is a kind of cantata with beautiful tune and elegant composition, accompanied by pipa, flute, xiqin, string and clapper. In Nanyin, songs that sing the love story of Chen Sanwu Niang account for a large proportion. For example, among the 106 songs collected in Qing Qu, there are 41; Among the 42 sets collected in Quannan Finger Spectrum Reorganization, there are 22 sets. Here's a quote from "Idle Dressing", "Empty Lady Hates", to see the following:

It is really difficult to be empty and empty. When the rain hits the pear tree and closes the door, the sun sets again, and the ghost is long. When I see the lonely lamp shining on the lonely bed, my eyes are thousands of lines. The road is long, the water is long, and the mountain is broken. No one has returned, and Iraq is living in a foreign country. I dare say that the geese have never flown everywhere, so why is there no line in the letter? I hate ghosts, I hate ghosts for a long time, and I have suffered a lot. I have never seen a fickle lover. I have suffered a thousand hardships, and it is hard to see a fickle lover.

This is a song about Huang Wuniang missing Chen San. Lonely lights on rainy nights, sad boudoir, bitter memories of my lover, infatuated with love. There are several sentences at the end of the song, which are repeated and varied, but also express a lot of affection and are endless. This song is sung in Minnan dialect, which is called "Catch the North Tune" in Nanqu style.

To sum up, in the Ming and Qing Dynasties, in eastern Guangdong and southern Fujian, the local people used various art forms, such as ballads, legends, novels, operas and folk art, to enthusiastically sing the love story of Chen Sanwu Niang, which became more and more popular. It can be said that it is a household name and deeply rooted in people's hearts. As many people from chaozhou people and Minnan migrated to Hongkong, Taiwan Province and even Southeast Asian countries, with the spread of local art, the love story of Chen Sanwu also spread abroad. As far as the influence is concerned, even Haruo Sato of Japan has written the novel Star, which narrates this love story. After liberation, the Liyuan Opera Troupe in Quanzhou, Fujian Province performed a compilation of "Chen San Wu Niang", which was praised by domestic audiences, compatriots in Hong Kong and Taiwan and Huaqiao in various countries, and was made into a film and widely shown. (2) Litchi mirrors get married.

Let's open Li Jing Ji and have a look from beginning to end to get a preliminary understanding of the dramatic plot of this love drama. As this legendary work is not easy to see, let's introduce it with more pen and ink.

On the fifteenth day of the first month, the lights in Chaozhou City are as bright as day. Huang Wuniang, her handmaids Yichun and Li Po came to see the lamp. She met Linda, the city's richest man, and met Chen San in Quanzhou, because Chen San sent his brother to Guangnan (now Guangzhou) as an envoy and passed by here. Linda's rudeness and vulgarity aroused Wuniang's antipathy, while Chen San's neat personality left a good impression on Wuniang. This prologue opened their first meeting and attracted the audience's attention to the further development of the plot.

Linda was greedy for Wu Niang's beauty, so she asked Li Po to go to the Huang family for matchmaking. Jiulang, the father of Wuniang, was greedy for the Lins' wealth, but he made his own decision and promised marriage. Therefore, Wuniang had an inevitable conflict with Linda, matchmaker and even parents. Wu Niang boldly said: Linda is a "wandering generation, afraid of making mistakes for life", and she doesn't like it. "Marriage is for herself" and "I don't want to marry a beggar if I am rich". She accused the matchmaker of being unreasonable in boasting about wealth. "I won't listen to you if you spit lotus flowers." She even made servants beat the matchmaker and chase the matchmaker away. She asked her parents to quit her job, but if they didn't, she grabbed the gold hairpin and trampled on the ground. Her father scolded her, her mother beat her, and she took the whip and criticized her parents for only loving money and not women. She is willing to be a nun and suffer, even more willing to throw herself into a well and die. It is clear that "parents' orders and matchmakers' words" cannot bind Wuniang. She is not tempted by the rich and is not afraid of the suppression of power. She vows to make her own decisions and choose marriage. It seems that she opposed the rebellion of feudal marriage, which was very vigorous, firm and strong.

In Wuniang's mind, "a good marriage is worth going to see each other, but I'm afraid of fate," because her favorite husband, Chen San, has gone to Guangnan with her eldest brother. She was in a state of anxiety and suffering. "There is no road to doubt when there is no water, and there is another village." Time flies, and it's already June. Chen San returned to the spring from Guangnan, surpassing Chaozhou. At this time, Wuniang and Yichun were enjoying the summer and tasting lychees in front of the building, and suddenly they saw Mr. Lang under the Lantern Festival and slowly passed downstairs. This immediately aroused Wuniang's unexpected surprise, inspired her love hope, and enhanced her courage and courage. She used a handkerchief embroidered with "eternal marriage" to wrap fresh and red lychee, and threw it at her beloved, hoping for lychee. "I hope you will be a man under the moon, so don't bear a marriage." It seems that she hates what she hates, loves what she loves, chooses her spouse freely and makes up her mind. Chen Sandun's feeling of happiness came from heaven, and this desirable marriage was exactly what he was looking forward to. In order to sincerely pursue love, regardless of the feudal rank, he pretended to be a mirror grinder and broke the Stephanie Wong mirror. As a slave, he entered the Huang family and stood by. At this point, the love of Chen Sanwu Niang has made new and gratifying progress.

However, after Chen San entered the Huang family, Wu Niang constantly had doubts of one kind or another. In her mind, how did the husband become a prostitute under the Lantern Festival? He is a stranger. Does he have a wife at home? If he has a wife, who does he depend on? If you marry him privately, will your husband not respect you later? In the circumstances at that time, it was natural for her to have these doubts. As for Chen San, there are many contradictions in his heart. If he stays, there will be no real news about love for a long time. Go, and love is quite hard to give up. Through a series of contact processes, such as sweeping the hall, holding water, enjoying flowers, asking questions and embroidering, they explored each other step by step and deepened their understanding step by step. Their love, twists and turns, develops slowly, ups and downs, worries and joys. Yichun's enthusiastic help also promoted their doubts and love. They finally completely ruled out all doubts and bravely and sincerely made a private tryst. It's a great pleasure to have a lover die and make a beautiful family. However, what awaits them is a more difficult test.

At this moment, Linda urged her to marry, and her parents forced her to marry. It was like a storm, and suddenly she slammed into Chen Sanwu Niang. After Chen Sanwu Niang discussed, she had no choice but to elope. Wu Niang said that she was not afraid of Linda's accusation, the road was difficult, and she was willing to be ridiculed by embarrassment. She was helpless and would never leave her parents. This choice requires courage and courage, which shows their persistence in love. Sure enough, Linda bribed the government to hunt down and interrogate Chen Sanwu Niang. Wuniang is willing to bear it all, not afraid of great disaster. The government sentenced her to Linda, and she would rather die in the hall. Chen San was put in prison, and she sent him food with indignation. Chen San was sent to Yazhou, and she told him to cherish his health. Chen Sanyi went without news, and she fell ill with acacia. All this proves that Chen Sanwu Niang is loyal to love. Hard to bear heavy pain, indomitable, and stand any serious test. Finally, Chen Sanwu Niang relied on Chen Sanzhi's brother to reverse her conviction and finally returned to Quanzhou for family reunion. Exactly: "The treasure mirror will be reunited today, and litchi will be remembered for two meanings."

Obviously, Li Jing Ji shows that young men and women in feudal society actively pursued free love, resolutely opposed feudal marriage, suppressed feudal forces and fought bravely. This is an ode to the spirit of fighting for free marriage, and it is a hymn to the good wishes of lovers. The pear circle play "Chen Sanwu Niang" was only performed until Chen Sanwu Niang eloped due to the limitation of performance time. In fact, according to Li Jing Ji, there is still the essence after elopement, that is, Chen Sanwu Niang's struggle against the government. How to solve it is a problem worth studying.

According to legend, the legend of Li Jing Ji was compiled by Li Zhuowu in Ming Dynasty. In the Qing Dynasty, Gong Xianhe's "Watching Drama" says: "There is an example of the Southern Tune of the North Transfer Project, and the pear garden was hand-written and copied, which spread all over the village's" Lijing ".Who knows the whole south of Li Zhuowu?" I think this is because Li Zhuowu, a native of Quanzhou, Fujian, is naturally familiar with and interested in the local rumored love story of Chen Sanwu Niang. He has made insightful comments on the West Chamber, Moon Pavilion and Hong Fu Ji, and put forward the drama criticism standards of "chemical engineering" and "painter", and demanded that the drama should be well-directed, well-composed, well-written and well-done, and he is very expert in drama. In particular, he is an advanced thinker, firmly opposed to feudal ethics, dared to challenge feudal traditional concepts, and gave his life for this at the age of more than 70 years. Coincidentally, the person who compiled Li Jing Ji was not Zhang San Li Si Wang Er Ma Zi, but Li Zhuowu. Although this is a legend, it is also very interesting.

Because Li Jing Ji has a distinct anti-feudal ideological tendency, it is naturally not allowed by feudal forces, so the performance of this play at that time was repeatedly banned by the government. Guangdong's "Jieyang County Records" records: "When talking about the song" Chen San "in the countryside, it is immoral and will be done by those who die. I don't know why the streets of Lixiang are so lonely. During Chongzhen, Chen Dingxin's first trip was forbidden. " Fujian's Annals of Xiamen records: "There was a biography of Li Jing in front of Xiamen, in which Chen San, a spring man, lured Wang (Huang), a fashionable woman, to elope with Wu Niang. The obscene words were ugly and the women's audience was blocked, so he fled more politely and privately. Tongzhi Xuedu forbids it. " Although the feudal forces slandered the performance of Li Jing Ji; Curse the author of this play viciously; It is a strong proof that the audience is "sharing the same interests" and trying to uglify them, but the dramas that the masses like are, after all, banned by the government. "Li Jing" spreads all over the village. (C) the children of the South are lifelike.

As a dramatic work, the playwright should never stick his head out and preach dry truth, even if it is hyped up, it is not artistic. Therefore, it must create vivid characters, reproduce and clarify life through their contradictions and conflicts, and infect the audience with strong artistic charm, entertaining and entertaining. As we all know, the love dramas of past dynasties in China have emerged many vivid characters to form dazzling galleries. For example, Zhang Sheng and Cui Yingying in The West Chamber, Jiang Shilong and Wang Ruilan in The Moon Pavilion, Lv Mengzheng and Liu Yuee in The Story of Colorful Buildings, Zheng Yuanhe and Li Yaxian in The Story of Embroidery, Liu Mengmei and Du Liniang in The Peony Pavilion, Pan Bizheng and Chen Miaochang in The Record of the Jade Badge, and so on. They have different personalities and different love histories, but they are all suppressed by feudal forces and are all fighting for free marriage. In this regard, Li Jing Ji is no exception.

Look, Huang Wuniang in Li Jing Ji, although a young lady of a rich family, is not bound by feudal ethics. On the Lantern Festival in the first month, she and her maid went to the streets to watch the lights and answer songs with others. In June, during the Litchi Festival, she and her maid went upstairs to enjoy the summer and voted for a young husband who had only met once. In the eyes of moralists, it is indecent for a lady in a boudoir to show her face. Although watching lanterns, answering songs and enjoying summer is related to local customs, actions such as Wuniang's investment in litchi are beyond the "everyone's norm" after all. This is one. Huang Wuniang's criteria for choosing a spouse are that she only loves her talents and does not seek money. Therefore, although everyone Lin is very rich, they don't care about it, but they deeply love Chen San's neat personality. This is two. Huang Wuniang boldly pursues free marriage. She accused the matchmaker, trampled on the property, criticized her parents, and vowed not to be imprisoned by feudal arranged marriages, but to "marry by herself." This is three. Huang Wuniang has always been faithful to love in any difficult situation. Linda's forced marriage, elopement risk, government persecution, Chen San's betrothal, and successive threats and pressures can't shake her single-minded love for Chen San at all. This is four. Obviously, this is a typical "rebellious" woman in ancient times, but it is different from Cui Yingying, Wang Ruilan, Du Liniang and other boudoir ladies.

What about Chen San in Li Jing Ji? In order to pursue a happy love, he did not hesitate to be a slave and was willing to be ridiculed and tortured. In order to be faithful to love, he dared to run away with Wuniang at the risk of being accused of "kidnapping a good woman". He was arrested, imprisoned, sent, and suffered great disasters and pains, but he didn't regret a word, didn't beg for mercy and cowardice, persecuted feudal forces, and even more resented generate. It seems that Chen San is Chen San, not Zhang Sheng, Jiang Shilong and Liu Mengmei. Therefore, Chen Sanwu Niang, the lovers of the sons and daughters of the South China, has flesh and blood, personality, laughter and tears, and is lifelike. Their joys and sorrows, their love fate, left a deep impression on people, but also gave people useful inspiration.

The reason why Li Jing Ji can create vivid characters lies in that the playwright is good at arranging tortuous and changeable drama plots and fierce and complicated drama conflicts, such as "Resigning from the Media", "Five Mothers Throwing themselves into a Well", "Going upstairs to throw Li", "Breaking the Treasure Mirror", "Breaking an Appointment in Yichun", "Renewing a Wedding Ceremony", "Li Po Urging a Wedding" and "Planning" Therefore, the development of the drama plot and the conflict between the characters have formed a wave of unrest, and waves have started again, pouring in layers and overlapping. Chen Sanwu Niang is in the torrent of love, constantly experiencing the impact of the wind and waves, which is inevitable, and it is true that "many things are grinded." In view of different contradictions and conflicts, they adopt different methods and attitudes from Linda, parents, the government and themselves, but they are firm and unchangeable in opposing feudal marriage and pursuing free love. Therefore, it clearly shows their personality characteristics and legendary shows their love path.

The most striking thing is that in Li Jing Ji, the playwright carefully depicts the changes in Huang Wuniang's inner world with delicate brushstrokes, which is subtle and reasonable. Through "Chen San Sweeping the Hall" and "I'm too lazy to dress up", I repeatedly described Wu Niang's psychological state of doubt and exploration. With Flowers in the Garden and Wuniang Embroidery, it describes the ups and downs of Wuniang's further questioning of Chen San's family situation and the reasons for entering the government. This series of psychological descriptions, like peeling bamboo shoots, make Wu Niang's inner mystery naturally and gradually exposed, which is clear at a glance. Especially in "Going to the Building for Li", "Wu Niang Embroidery" and "Recalling Feelings and Self-sighing", the playwright used a large set of songs to let Wu Niang express her heart and mind, because singing is one of the important means of shaping characters in drama. However, "Embroidery" uses the technique of comparing embroidery with association, while "Remembering Love" uses the technique of sighing for five hours. Therefore, the psychological descriptions of these two plays are different in both the scene and the technique.

Undeniably, Li Jing Ji also failed in portraying characters. For example, the playwright flirted with Yichun in a frivolous way, showing low taste; I also take a positive attitude towards the polygamy of Wuniang and Yichun who voluntarily * * * Xu Chensan. This will damage the quality and sentiment of several positive characters, and also reflect the backwardness of the author's thought. (D) Strong local colors of Guangdong and Fujian

During the Ming and Qing Dynasties, the local opera art in Chaoquan area had its own locality, because its formation and development were closely related to the life, language, popular music, songs and dances of the local people at that time. Therefore, Li Jing Ji, as a local opera work in southern China, is naturally rich in local colors of Guangdong and Fujian, which is worth appreciating.

Li Jing Ji, as soon as it started, the playwright used Inviting Friends to Enjoy the Lantern, Wuniang to Enjoy the Lantern, Answering Songs under the Lamp, and Traveling with Ladies and Gentlemen to greatly highlight the bustling scene of Chaozhou Lantern Festival. Three streets and six lanes are full of light sheds, fireworks are everywhere, firecrackers are soaring, dragons and lions are danced, Lin puppet plays, bamboo and silk are played, gongs and drums are played, men and women sing songs with joy, and chaozhou people sings Chaozhou songs, "The balcony is lit by fire, and people from car to horse look at people." However, this is not only for rendering local colors, but more importantly for writing characters. The playwright asked several main characters in the play, Wu Niang, Chen San, Yi Chun and Lin Da, to get together in this festive occasion and show their own performances. This coincidental arrangement is not blunt, because everyone watches the lanterns on the Lantern Festival, which has a long history and is the case everywhere. It not only makes the audience have a preliminary impression on several main characters in the play, but also lays the groundwork for the development and development of the drama conflict.

In Li Jing Ji, the local scenery and customs of Chaozhou are sometimes described as details, but they have become important items. For example, the seventeenth issue of "Going to the Building to Vote for Li", "On the sixth day of June, Chaozhou customs, officials, gentlemen and women everywhere go upstairs to enjoy the summer". Just as "the tail of the litchi tree is red", Wuniang is upstairs enjoying the summer and tasting litchi, which reminds her that "litchi is as sweet as honey". Therefore, she took litchi as a token of love and pinned her good hopes. Since then, whenever Wuniang hesitated about love, Chen San mentioned the matter of investing in Li, trying to urge Wuniang to make up her mind to get married early. Therefore, the original name of the play was Litchi Ji, and it was renamed Lijing Ji. Sometimes, combined with the plot, there are only a few strokes, but it is not dispensable. For example, according to the Chaozhou custom at that time, the thirteenth book "Li Po sent an engagement" included betel nuts. Li Po invited Wu Niang to eat betel nuts, but Wu Niang resolutely refused to do so, in order to show her determination to refuse marriage. Although this is not much ink, it shows the character economically. It can be seen that the playwright is good at describing local scenery, customs and characters, skillfully combining them, blending scenes, producing characters and plays.

Lijing Ji is mainly composed of Chaozhou dialect and Quanzhou dialect, both of which belong to Minnan dialect area. But in order to show that Chen San and Wu Niang are not from the same place, they are different in language. For example, the word "say" is used by Chen San and Wu Niang. Watching the lights or watching the lights, Chen San uses "watching" or "watching", and Wu Niang uses "seeing". "Zui" and "Zhi" are both Chaozhou dialects. 1953/54, I went to Minnan twice to investigate local operas, and watched the Liyuan Opera "Chen San Wu Niang" in Quanzhou. The local audience in the theater burst into laughter from time to time, but I didn't feel ridiculous when I looked at the Mandarin translated on the slide. It can be seen that, as local operas, dialect Quwen and Binbai, with their meanings and charm, are easy for local audiences to understand and understand, and have a sense of intimacy. However, as a drama work, we must never use dialects indiscriminately without the characters, but should make a precise choice and ingenious arrangement of dialects from the characters. Listen carefully:

(Dan) if you are a person? Six (students), seven recently. (Dan) Who are they? Count it. Listen. My father and mother. (Dan) Your father and mother. Brother and sister-in-law (Dan) Your brother and sister-in-law. Introduce one's aunt. (Dan) Who is Yingu? My little sister, your name is Yi Yingu. (Dan) Not all five people. Little people. (Dan) Only six people. (Health) Ya is a six-person capital, and she was taken by Ya Niang. (Laughing) It counts if you have never missed Ruan.

It seems that Wu Niang wanted to test whether Chen San's family had a wife, in order to dispel her doubts, but Chen San did not answer directly and tactfully counted Wu Niang as one of her own. This not only makes the woman know well and "laugh" with satisfaction, but also makes the words very funny, which will also cause the audience to laugh knowingly. This kind of dialogue is not straightforward, but also has twists and turns. Among them, the female name "Yingu" immediately surprised Wuniang, fearing that it was Chen San's wife, so she asked urgently, "Who is Yingu?" Chen San replied: "Little people and sisters". She just calmed down her anxiety. The audience will also laugh at it.

In the Qing Dynasty, Gong Xianzeng's poem "Watching the Opera" said: "The drums and drums are singing one by one, and the moon is setting, and the drama is not collected. One song is clearly" Biography of Li Jing ",in exchange for singing Chaozhou." However, seventy-nine tunes were used in the fifty-five editions of Li Jing Ji, of which only eight were marked as "Chaoqiang", such as "Wind enters the pine", "Zhu Yunfei", "River Crab", "Huang Yinger", "Liangzhou Preface", "Four Dynasties Yuan", "Looking at my hometown" and "Drunken Help Return", which only accounted for tunes. In fact, this play is useful for tidal tune, spring cavity and both tidal tune and spring cavity. The first page of Li Jing Ji, a book published by Jiajing in Ming Dynasty, is marked as "Reprinting the Complete Plays of Five-color Tidal Springs and Adding Poems to Li Jing Ji in Goulan, a northern song", which is actually a legendary system. Up to now, Chaozhou Chaozhou Opera and Quanzhou Liyuan Opera all have this play, each singing in a tidal tune and spring cavity, but Liyuan Opera "Chen San Wu Niang" has also absorbed Chaozhou music. As we know, there were four major operas in the middle of Ming Dynasty, namely Haiyan Opera, Yiyang Opera, Yu Yaoqiang Opera and Kunshan Opera, while Chaodiao Opera and Quanqiang Opera were unique in South China. It seems that Li Jing Ji combines local accent and local dialect to sing local stories and express local life and scenery. Naturally, it is the most harmonious and has obvious local color, which is loved by local audiences.

Some people say that "Li Jing Ji" is "The West Chamber" in the south, which is not without reason. For example, in "The Legend of Wonders", I wrote the birth of Huang Jiaan, performed "The West Chamber", and Yichun invited Wu Niang to watch the drama and discuss the love story between Zhang and Cui. In the eighteenth issue of Litchi, Bo Qing grinds the mirror, and Chen San sings the song of grinding the mirror, which secretly contains the story of The West Chamber, causing Wu Niang to meditate. Some plots in Li Jing Ji, such as jumping over the wall, lovesickness, giving "prescriptions" and ritual, have some imitations of The West Chamber. All this shows that Li Jing Ji and The West Chamber not only describe beautiful love stories and affect people's spiritual sentiments, but the former is deeply influenced by the latter and inherits the fine tradition of Chinese classical love dramas. However, Li Jing Ji, as mentioned above, has distinctive features and innovations in both life content and artistic form, which is different from The West Chamber after all. It is a strange flower in the south China opera art garden, which has a unique style in Chinese love dramas of past dynasties. That's what it means to say, "There are five mothers of Chen San * * * on the south bank". We should pay more attention to this when appreciating Litchi, Lijing and even Chen Sanwu Niang.