How to read ancient literature books in combination with "intangible heritage"

Reading ancient literature books can also be combined with the inheritance of intangible cultural heritage. Ancient books are carriers of traditional culture, while intangible culture is an art or skill passed down through memory and oral communication, and they are often directly or indirectly related. When I was reading the scripts of Song and Yuan Dynasties, I solved some puzzling problems with my listening experience. The existing scripts are fine or coarse, elegant or vulgar, and generally speaking, they will not be live recordings. Therefore, some of them are considered as parodies, such as Lu Xun's Poems of Three Monks in the Tang Dynasty and Xuanhe Legacy. Some people think that the story is just another name of the story, such as Japanese scholars such as Masuda. Others don't recognize the existence of scripts in Song and Yuan Dynasties, and think that they are all novels rewritten by Ming people. In fact, speakers generally have a basic knowledge, which has been the case since ancient times. The storytellers in the north call the abridged version of the outline "Liang Zi" and the quoted copy "booklet", but it won't be a live record. For example, Liu Lanfang, a famous storyteller in modern times, writes tens of thousands of words every day when he broadcasts The Biography of Yue Fei, but he has to improvise a lot. When I visited Suzhou Pingtan Museum, I noticed that the collection of Pingtan Ci and ballads generally only accepted songs, and there was no confession. Some have confessions, but they are also very brief. Some of them have been compiled into books, which are generally not as detailed and vivid as the rap on the field.

Of course, there are also some old artists who make up their own details, or disciples continue to process a lot, which is relatively rare. For example, Lu and Gu Hongbo, the old artists of Suzhou Pinghua, both wrote the scripts of the History of the Three Kingdoms, all of which were their own manuscripts, and all gave some scripts to the student Wang Zhongyuan. Wang Zhongyuan himself made up another play. On May 8, 20 15, Hua Qi, the widow of Wang Zhongyuan, donated all three plays to Suzhou Pingtan Museum, which became a much-told story (According to the ancient novel research network 20 15, Gusu Evening News reprinted He Bing's "Retaining Famous Historic Materials, Three Manuscripts Show Absurd Feelings"). Master compiled a copy himself and finally gave it to his disciples. This is a common occurrence in the field of Quyi, and some scripts have probably been handed down in this way. Therefore, it has the characteristics of inheritance and variability, forming a cumulative work from generation to generation.

On the other hand, we should also pay attention to the specific background of the Song and Yuan Dynasties, and the cultural focus gradually moved down, especially in the Yuan Dynasty, when the imperial examination stopped, scholars had no choice but to go to the people, and many talents appeared in the book club. They write plays for artists, and there are a large number of zaju Sanqu, all of which are found in ghost books. However, the author only saw an example of "My Good Son Zhao Zheng" by Lu Xianzhi. Ms. Zhu, who has a history of literature, is a historian (see Yang Weizhen's Preface to Sending Ms. Zhu to Play History), but it is not known whether there is a transcript. The existing legacy of Xuanhe is a script that collects many historical materials. The editor has mastered a lot of resources of historical biography and poetry, and has a deep cultural accomplishment. It should be said that he was a "talent" at that time. However, the legacy of Xuanhe may not be completely devoted to the field speech. I think this is also a type of script. Therefore, I have raised the issue of the diversity of telling historical stories, which cannot be measured by the standard of an ancient work. However, from the perspective of historical development, some books that are not artistic have very important historical value and documentary significance, such as the legacy of Xuanhe.

The scripts such as Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty's Qing Dynasty' Although Yu Yue made some modifications to the Three Heroes and Five Righteousness, it was not carefully processed, so it didn't become a masterpiece like Water Margin.

Suzhou Pingtan is a national intangible cultural heritage, and there are also scripts accumulated for generations and vocals of various schools. As an old listener of Suzhou Pingtan, I am very concerned about its protection and inheritance. When discussing the metrical and chanting of modern poetry, I think that Suzhou Pingtan is deeply influenced by modern poetry in the process of elegance and metrical, especially the system of singing pearl tower and horse tune represented by Ma Rufei, which can best reflect the traditional chanting method. Therefore, I wrote articles such as Suzhou Pingtan and Metric Poetry Recitation, hoping to expand the inheritance of traditional poetry, including the popularization of metrical poetry. On the other hand, I also hope that Suzhou artists can inherit and develop the experience of their predecessors, learn from the rules of traditional poetry and improve the artistry of pingtan. On the other hand, the reciter can also learn from the vocals of Quyi artists to improve the musicality of reciting appropriately. For example, in a seven-character quatrain, if the sentence is "flat and parallel", in Suzhou Pingtan, the cavity is usually extended on the sixth word, but it is quickly closed on the seventh word, which is very different from most other operas in extending the cavity on the last word. I think the recitation of modern poetry can also appropriately exaggerate the long sound of the sixth word, showing the level and level contrast of "246 distinct". Recently, I heard on TV that the primary school students trained by Ms. Lu Jinhua in Shanghai sang Tang poems in Suzhou Pingtan aria, which accurately reflected the flat and short tones and spread classical poems and intangible cultural heritage to children. This is a kind of poetry teaching method that kills two birds with one stone, which is worth paying attention to and popularizing.

"Changzhou chanting", represented by Mr. Zhao Yuanren's poetry chanting method, has been approved as a national intangible cultural heritage. In the current school of chanting logistics, I think "Changzhou chanting things" can represent the traditional way of chanting things in Wuyu area and most dialect areas, with the tone of "flat long and flat short" and the suffix of two bytes as the basic rhythm, which conforms to the metrical mode of modern poetry and can be protected and passed down as an intangible heritage. Whether other schools of chanting are listed as "non-legacy" respectively needs to be studied and discussed. As for singing with scales as artistic means, it is an innovation in discussion and experiment, and it can also contribute to the spread of traditional poetry.

(Author: Zhonghua Book Company)