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The “Lyrical” Expression of History: the Relationship Between History and Lyricism in the Yangzhou Play “Long Canal Willow”

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The “Lyrical” Expression of History: the Relationship Between History and Lyricism in the Yangzhou Play “Long Canal Willow” The “Lyrical” Expression of History: The Relationship between History and Lyricism in the Yangzhou Play “Long Canal Willow” Zijun LIU Yangzhou Institute of Quyi Abstract: The lyric expression of history, both ancient and modern Chinese and foreign literary works have dabble in, but there is no unified theory, the author tries to introduce this concept, to the creation, performance play a certain role of inspiration. If history cannot be expressed in a lyrical way, then the temperature of history cannot be felt by ordinary people. The dissemination of historical ideas is finally rooted in the people's minds from the perspective of ordinary people. It is also a clever combination of art and history. Youyou Yunyun Willow is a representative work of Yangzhou Tanchi, which expresses the canal culture of Yangzhou. This paper will try to analyze the success of Youyou Yunyun Willow from the lyric expression of history. Keywords: History; Lyric expression; Tanci DOI:10.47297/ wsprolaadWSP2634-786503.20200104 angzhou Tanci, formerly known as Xianci, is a kind of play lyric song system based Yon Yangzhou dialect. It is mainly based on speaking and supplemented by playing and singing. The representative books include “Double Golden Ingots”, “Pearl Tower”, “Falling Gold Fan”, “Diao Liu’s”, etc. The Yangzhou Tanci and Yangzhou commentary are sister arts, formed in the late Ming Dynasty and flourished in the early Qing Dynasty, with a history of more than 400 years. It originated in Yangzhou and spread in Zhenjiang, Nanjing and the area around the Lixia River in central Jiangsu. “Long Canal Willow” is a representative work of Yangzhou Tanci, which expresses the culture of Yangzhou canal. This paper will try to analyze the success of the creation of “Long Canal Willow” from the perspective of “lyrical expression of history”. The lyrics are reproduced as follows. A river with clear waves flowing. Thousands of miles of willow color. The wind and rain are dancing on the shore. The canal willow is magnificent. Remember when the king traveled. The songs and boats could not hide the sorrow. 14 The “Lyrical” Expression of History: The Relationship between History and Lyricism in the Yangzhou Play “Long Canal Willow” I still remember the boats flying by the waves. The paddles are moving rapidly and the noise is endless. The wind blows by, the purple swallows fly The water is flowing for a long time. The tide rises and falls to the fishing fire. The water is flowing. The spring goes and the spring returns. The canal willow is long. The canal willow is long. Thousands of years of love is not old. A party with thick roots. New willow color year after year. Beautiful canal willow. Dance the spring light to stretch wide sleeves. Lightly clinging to the blue water to swing the wind flow. New color of the canal in the world. The spring color to the crisp autumn. The willow is long, the moon is in the head. Love, love like wine. I see people after dusk again. The willows are long. The curtain moves softly. The canal willow is long. The canal willow is long. The Lyrical Expression of History The lyrical expression of history is a creative method that the author has summed up over the years by participating in singing, performing and thinking about the lyrics. The aim is to use the “lyrical way” to portray and express the hard and grand history. “It can be said that it is a novel and theoretical method that can be explored, but in fact, from ancient times to the present, many authors have used this method to process history, scenery, and historical figures to create unique historical infections, and to tenderly convey their thoughts, songs, and appreciation of history to the audience. This method has been used by many writers since ancient times to create a unique historical message, and to tenderly 15 Research on Literary and Art Development Vol.1 No.4 2020 convey their thoughts, songs and appreciation of history to the audience. The earliest “lyrical expressions of history” were found in the two major sources of Chinese literature, the Shi Jing and the Li Sao. In the Poetic Edda, a large number of plants, animals, and natural landscapes give a veil to the local political, historical, and social culture of the time. For example - “The magpie has a nest, and the turtledove lives there. The magpie has a nest, and the turtledove has a square. The magpie has a nest, and the turtledove is full of it. “There are trees in the south that cannot be rested; there are women in Han that cannot be sought. Han’s wide, can not swim thinking; river’s eternal, can not be square thinking. The wrong salary, said the mowing of its Chu; son of the return, said to feed its horses. Han’s wide, can’t swim think; river’s eternal, can’t square think. The wrong salary is to mow the piper; the son of the son is to feed his horse. Han is too wide to be contemplated; the river is too long to be contemplated.” In this one of the earliest collections of Chinese poetry, we see a great deal of lyrical descriptions. Later, the Tang poet Li Shangyin also often used this method, and several of his poems, “Untitled,” invariably deal with both history and politics and feelings, such as. “It is difficult to part when we see each other, the east wind is powerless and a hundred flowers are wrecked. The spring silkworm will not be finished until it dies, and the wax torch becomes ashes before it dries up. I am worried about the clouds and sideburns in the morning mirror, and I feel the cold moonlight in the night. There is no more way to go to the mountain, the green bird is diligent to look for it.” The lyricism of history reaches its climax in “The spring silkworm is not finished until it dies, and the wax torch becomes ashes before it dries up”. The story of “Fifty strings of the golden serpent, one string and one column of thought. The dream of Zhuang Sheng is a mysterious butterfly, and the spring heart of Wang Di is a cuckoo. The moon of the ocean is bright with tears, and the sun of the blue field is warm with smoke. Can this love be remembered? But at that time, I was already at a loss.” From this, we can conclude that the expression of “lyricization of history” requires the existence of a specific person in the process of expressing history. This “person” has 16 The “Lyrical” Expression of History: The Relationship between History and Lyricism in the Yangzhou Play “Long Canal Willow” his own happiness, sorrow, sadness and joy, and when such a person is placed in history, he will naturally look at history emotionally and lyrically, and the face of history will form an excellent work of art under a unique vision. Chairman Mao’s famous lyric, “Qin Yuan Chun - Snow”, is also an example of this, and no further examples will be given here. In contemporary times, the author who has done a good job of lyricizing history belongs to Yu Qiu Yu’s “Cultural Tribulations”, a series of cultural and historical phenomena under Yu’s “lyricized” tone, resulting in a very wonderful reaction, allowing readers to touch the temperature and warmth of history more closely. For example, “He stood in a daze, and there was no sound in the world, only the overflow of light and the envelope of color. He had a vision and put his tin staff on the ground, knelt down solemnly, and made a vow that he would from now on make a wide range of karma to build a cave here to make it a truly holy place. When the monk finished making his vow, the light was dimmed on both sides, and the pale twilight pressed against the vast sand plain.” -- “Mogao Caves This passage stays with a strong mythological color, but also gives our culture a sense of mystery, and after reading it does not feel touched, but can not say why, which is the charm of the text, but also shows the peculiarities of the Mogao Caves. “I have been to many small towns in Jiangnan, I can imagine with closed eyes, the narrow river through the town, an exquisitely carved stone bridge, the river and built homes, homes under the floor is the water, stone steps of the port from the floor under the level of the port, the women are on the port to wash, and only a few feet away from them on the crow-top boat is rising a white smoke, smoke through the bridge drift to the On the other side of the river, there is a low and wide stone fence, you can sit or lie down, a few old people sitting there with a serene face watching the passing boats.” Jiangnan town has become a style and culture, although after thousands of years of heritage and course, there are many landscapes we can not see, in the pictures left behind, in the history of the text, we can vaguely still depict that kind of picture. The culture of Jiangnan town can still be preserved after thousands of years, and this is the charm of culture. To sum up: the lyrical expression of history requires the author to creatively use language and details to portray history. The Canal and the Willow in “The Long Canal The canal refers to the Beijing-Hangzhou Grand Canal.
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