Characteristics of various types of opera

Characteristics of various types of opera

1. Kun Opera

Kun Opera, also known as "Kun Opera" and "Kun Opera", is an ancient type of opera. . It originated from Kunshan, Jiangsu Province and became popular after the mid-Ming Dynasty. At that time, most of the legendary plays were sung with Kun opera. In addition to Nan Kun Opera, which maintains the characteristics of early Kun Opera, many branches have also formed across the country, such as Kun Yi, Xiang Kun, Sichuan Kun, etc. in the north. Kun Opera's style is clear, soft, delicate and lyrical, with singing and dancing performances and rigorous routines. It is a representative of Chinese classical opera.

2. Gaoqiang

Gaoqiang is a general term for a system of opera tunes. It was originally called "Yiyang Tune" or "Yi Tune" because it originated in Yiyang, Jiangxi. It is characterized by simple performance, popular lyrics, high-pitched and exciting singing, one person sings while others sing along, and only golden drums are used to beat the music without orchestral accompaniment. Since the middle of the Ming Dynasty, it began to spread from Jiangxi to all parts of the country, and different styles of Gaoqiang were formed in various places, such as Sichuan Opera Gaoqiang, Hunan Opera Gaoqiang, Gan Opera Gaoqiang, etc.

3. Bangzi tune

Bangzi tune is a general term for a system of opera tunes. It originated from the "Shanshan Bangzi" at the junction of Shanxi and Shaanxi. It is characterized by high-pitched and exciting singing and wooden bangs. Then, it developed eastward and southward, forming different forms of Bangzi tune in different regions, such as Shanxi Bangzi, Hebei Bangzi, Henan Bangzi, Shandong Bangzi, etc.

4. Peking Opera

Peking Opera, also known as "Pihuang", consists of two basic tones of "Xipi" and "Erhuang" as its musical material. It also sings some local operas. Tune (such as Liuzi tune, blowing tune, etc.) and Kunqu opera tunes. It was formed in Beijing around 1840, became popular in the 1930s and 1940s, and was sometimes known as "national drama". It is still a major opera with national influence. With its comprehensive range of skills, mature performances and magnificent momentum, it is a representative of modern Chinese opera.

5. Pingju Opera

Pingju Opera was formed in the late Qing Dynasty on the basis of the ditty "Counterpart Lotus Falls" in Luanxian County, Hebei Province. It was first popular in rural areas of Hebei Province and then entered Tangshan, where it was called "Tangshan Luozi". . It became popular in the Northeast around the 1920s, and a number of actresses emerged. After the 1930s, the performance of Pingju Opera became increasingly mature under the influence of Peking Opera, Hebei Bangzi and other operas, and schools such as Bai Yushuang, Xicailian, and Ailianjun emerged. After 1950, plays such as "Liu Qiaoer", "Flower as Matchmaker", "Third Sister Yang Complains" and "Qin Xianglian" had a great impact across the country, and famous actors such as Xin Fengxia, Xiaobai Yushuang and Wei Rongyuan appeared. Pingju opera is still popular in Hebei and Beijing.

The origin and formation of opera

The development and growth process of opera is very long. After the Han and Tang Dynasties, it was not until the Song and Jin Dynasties that it became relatively complete. The art form of opera. Opera is mainly composed of three different art forms: folk song and dance, rap and comedy. Temple fairs and Washegoulan played a role in promoting the formation of opera.

Folk song and dance "Shang Shu Shun Dian" says: "I strike the stone and pick up the stone, and all the beasts lead the dance." This is a kind of dance performed by a group of primitive society people before going out for hunting, or after returning from hunting. Primitive religious ceremony: people dress up in animal shapes and dance to pray for blessings or to reward gods. The dance is accompanied by cheers and singing. "Lu's Spring and Autumn Period Ancient Music" says: "Ge Tian's music involves three people playing oxtails and singing eight songs." What is sung here is to pray for good weather and good crops. In primitive societies, people celebrated festivals, often worshiping gods with songs and dances, and entertaining themselves at the same time. At that time, there were festivals to commemorate victory in wars, to celebrate harvests, to exorcise ghosts and diseases, to worship ancestors, and to woo men and women, etc.

From primitive society to class society, China has a characteristic that is different from the West: in the West, with the emergence of classes, the original clan blood organization gradually disintegrated; while China has preserved this for a long time. This is the residual form of an organization and forms a relatively fixed rural organization. At the same time, songs and dances left over from primitive society have often been preserved in rural areas throughout the ages.

The form of Zhu Gong Tune is that the music is not limited to one piece of music, and it is not limited to the use of tunes in the same Gong Tune. Rather, according to the needs of the plot of the story, appropriate Gong Tune tunes are used to express the performance. Tell a story in this way and sing a piece of music that expresses the emotions of the story, and its expressive ability will be greatly enhanced.

China’s rap art reached the Jin Dynasty in the 13th century, when Dong Jieyuan’s rap “The Romance of the West Chamber” appeared. The emergence of "Dong Xixiang" shows that the art of rap has become fully mature both in literature and music; and the maturity of rap art paves the way for the emergence of opera in both literature and music. Zhong Sicheng of the Yuan Dynasty believed that Dong Jieyuan was the founder of Beiqu. In terms of singing music, the Zhugong tunes of the Jin Dynasty were the forerunners of the Northern tunes of the Yuan Dynasty. Wang Shifu's "The Romance of the West Chamber" in the Yuan Dynasty drama is a further dramatization of "Dong Xixiang" in literature; in music, the four-fold and one-wedge Qupai couplet is also a major step forward in the dramatization of Zhugong Diao music. step.

Burlesque Burlesque is developed from "excellence". You appeared very early. According to historical records, it first appeared in the court of King You of the Western Zhou Dynasty in 774 BC. Yu is the jester of the king's nobles, who specializes in sarcasm and ridicule. The king acted inappropriately and could not criticize directly, so he used Yu to make fun of him for the purpose of satire. There was an unwritten rule at that time that even if Yu said the wrong thing, it would not be a crime. This is the same as the rule of the era when "The Book of Songs" was produced. It is not a crime for people to use poetry to satirize a person or an event. It is called "Those who speak are not guilty, but those who hear are enough to be warned." But You not only said some witty words to make people laugh, he also imitated other people's words and actions. For example, You Meng during the period of King Zhuang of Chu could dress up as the late prime minister Sun Shuao, and even the King of Chu couldn't recognize him at once (see You Meng). Meng).

In the feudal era, youcong's satirical admonishment of emperors became a method used by emperors to ridicule their subordinates. During the period of the Five Hus and Sixteen Kingdoms, Later Zhao Shile ordered a distinguished man to put on official uniform and pretend to be a soldier because an official serving in the army had embezzled official silk, and other actors and actresses made fun of him. From then on, You's performance was called "Joining the Army", and it developed from one role to two roles. The one who was teased was called "Joining the Army", and the one who teased him was called "Cang Falcon".

In the late Tang Dynasty, the drama of joining the army developed into a multi-person performance, and the plot of the drama became more complicated. In addition to male characters, there were also female characters appearing. At the end of the Tang Dynasty and the Five Dynasties, it was renamed "Zaju". By the Song Dynasty, there were five roles, each with its own division of labor, namely: ① "Xi Tou", also called "Mo Ni", is for planning performances. The head of a class; ② "Yin Xi", who arranges the performance specifically, and also "pretends to be a dan"; ③ "Fu Jing", the original member of the army; ④ "Fu Mo", the original Cang Falcon. When these four roles are not enough, add a role called "pretend to be alone". Despite the above-mentioned changes, the content is still comical; however, most of the people in the market are the targets of ridicule at this time. For example, the program "Acid Eye Drops" tells the story of a sour scholar who uses eye drops to treat people's illnesses but is ineffective, and "Lao Gu Xi Dan" is about a dispute between an old man and a young woman. In addition to showing talents and women, these plays also show various jokes about beggars, sergeants, thieves, monks and other characters. Therefore, among the five roles, Fu Jing and Fu Mo are still the important performers.

Temple fairs and tile-shaped wooden fences. The above three types of art can be subdivided into many varieties. They are collectively called "Baixi", also known as "Sanle". Since the Qin and Han Dynasties, Baixi has had a tradition of centralized performance. The performance venue in the Han Dynasty court was Pingguang; starting from the Northern Wei Dynasty, the venue for this kind of performance was changed to temples; Emperor Yang of the Sui Dynasty concentrated the "Sanle" from all over the world in Luoyang, dividing it into 9 parts: ① Yan music, ② Qing music Shang, ③ Xiliang, ④ Funan, ⑤ Goryeo, ⑥ Qiuci, ⑦ Anguo, ⑧ Shule, ⑨ Kangguo. Every year from the first to the fifteenth day of the first lunar month, a place is set up eight miles outside the palace gate, where all kinds of music are gathered, and officials and envoys from various countries who come to pay tribute can watch it at will. In addition to palace performances, the performance venues for singing and dancing in the Tang Dynasty were also located in several large temples in Chang'an. Song Qianyi's "New Book of the South" said: "Chang'an theaters are mostly concentrated in Ci'en, the small ones are in Qinglong, followed by Fu and Yongshou. Ni talks are more popular in Baotang.

"In addition to performances of hundreds of operas, there are also "啕比", that is, singing bianwen and urban novels that do not belong to Buddhist scriptures. In the Northern Song Dynasty, the commodity economy developed, and places such as Tokyo (now Kaifeng), the capital of the Northern Song Dynasty, became prosperous big cities. A commercial city. In addition to Xiangguo Temple as a tourist attraction, Tokyo also has tile houses specially designed for various artistic performances. According to records in the "Tokyo Menghua Lu" written by the elders of the Song and Meng Dynasties, in the early 12th century, Tokyo's tile houses had already been built. They are spread across the four cities in the east, west, north and south, including Sangjia Wazi, Zhongwa, Liva, Zhujiaqiao Wazi, Zhouxi Wazi, Zhoubei Wazi, etc., especially the one in the east of the city near the large commercial district is the largest. This area is not only connected to several tile houses, but also has dozens of "hooklan sheds" in each tile house, as many as 50. The tile house is a place where various kinds of skills are performed all year round. The artists of Washe are engaged in performing arts, and the audience is mainly citizens, including handicraft workers and businessmen, as well as intellectuals, bureaucrats, and nobles. Shegoulan performs a wide range of skills, including novels, history telling, palace tunes, hesheng, martial arts, acrobatics, various puppet shows, shadow plays, telling jokes, guessing riddles, dancing, comedy performances, pretending to be gods, and so on. "Zaju" developed from burlesque. The Washe Goulan in Lin'an (now Hangzhou), the capital of the Southern Song Dynasty, inherited the system of the Northern Song Dynasty, but the Zaju has been developed and improved in quantity and quality to attract audiences. They watched each other, competed with each other, absorbed each other, and gradually merged, which promoted the formation of opera. Song Zaju, which originated from burlesque, was a comprehensive opera art formed by absorbing various tricks in Wase Goulan. p>

There have always been different theories about the origin and formation of opera. Here are some representative theories from recent times, which are briefly described below.

Opera originated from the ancient witches and the ancient You Kingdom. "An Examination of Operas of the Song and Yuan Dynasties" points out: "Witches in ancient times were actually responsible for singing and dancing to entertain gods and humans. "It is also said that "Chu Ci" refers to "witches" as "spirits", "among the witches, there must be those who look like gods in clothes... As for bathing in orchids and bathing in the fragrance, the clothes are as beautiful as the flowers, and the clothes are beautiful; The slow festival and peaceful singing, the loud playing of the yu and the harp, the flourishing of singing and dancing; the words that ride on the wind and the clouds, the words of farewell and new knowledge, and the meaning of debauchery. Therefore, the spirit is used as a duty, or it is used to resemble gods, or it is whirled to play music, which has laid the foundation for the buds of dramas in later generations and has already existed." He also believes that "the ancient actors mainly focused on singing, dancing and joking. . Since the Han Dynasty, stories have been performed occasionally; singing and dancing to perform an event actually began in the Northern Qi Dynasty. Taking care of its simplicity, it is better to call it dance than to call it a play. The source of drama in later generations actually begins here. "

Opera was influenced by Indian Sanskrit opera. In "Sanskrit Opera Style and Its Influence on Chinese Opera," Xu Dishan analyzed the relationship between Chinese opera and Chinese opera from the perspective of literary spirit and style (i.e., content and form). A comparative study of Indian Sanskrit drama has been conducted, and it is believed that: ① Sanskrit drama is not a pure tragedy, and everything must be reunited in the end. "Reunionism can summarize the literary spirit of Sanskrit drama"; "The performance of Sanskrit drama is purely ideal, so it cannot produce A true tragedy or comedy. This kind of Indian thought is fully represented in our "Pipa Chronicles". "The ideal of 'all loyalty and full filial piety' described in Chinese plays is just like the Brahmin thoughts described in Sanskrit plays that are not at all realistic and without criticism at all." ② Sanskrit drama and opera are based on legends, creations, and miscellaneous materials. ③ Sanskrit drama has 10 elements in the plot development, namely "beginning", "effort", "possibility of success", and " "Inevitable success", "results achieved", as well as "seeds", "bits and pieces", "foil", "accident", "reunion". Many operas (such as Yuan dramas "Killing Dogs to Convince Husbands", "Zhang Tianshi", etc.) These 10 items can all be included. ④ "Sanskrit playwrights don't like to use purely elegant language, nor do they like to use purely vulgar language, so the most beautiful language is a mixture of elegance and vulgarity. This is the same as the language patterns used in Chinese drama, which are both elegant and vulgar, and vulgar and elegant." In addition, Xu Dishan also talked about the similarities between Sanskrit opera and Chinese opera in performance forms and role titles. His conclusion is: "Chinese The traces of dramatic changes, if not due to Indian influence, may be regarded as a coincidence between the circumstances of the two countries.

" Opera originated from puppet show and shadow play. Sun Kaidi pointed out in "Research on the Origin of Puppet Show" that Song puppet show and shadow play "are the origins of dramas and dramas since the Song and Yuan Dynasties; and even all the great dramas in later generations originated from them. It is used in the system of opera performance, such as the singing of one person in Northern Opera; the separate singing, chorus, and mutual singing in Southern Opera, as well as the self-praise of the actor's name, the painted face of the actor, and the emphasis on footwork of the actor; The origin of the story can all be attributed to puppet theater and shadow play."

Opera began in the Spring and Autumn Period at the latest and was completed in the Tang Dynasty. Ren Erbei said in "Drama, Teasing and Xiang": "Drama It already existed in the Spring and Autumn Period at the latest, and is a natural thing in society. The use of these two words to represent drama is an artificial thing of a small number of people since then. "He disagreed with Wang Guowei's view that real drama began in the Song and Yuan Dynasties, and believed that speaking of true drama does not mean talking of mature drama. Although the Zhou opera "Sun Shu'ao" (i.e. You Meng) is childish, it is also a true drama (according to "Tang Dynasty"). "Joking·Postscript"). He also pointed out: "In ancient my country, there were singing and dancing, which were performed with more regular sounds; then there were actors and actresses, who were performed with more free techniques; the two developed separately, and at the latest In the Han Dynasty, voice, appearance, and expression were integrated into one body, used for communication, to act out stories, and to become a song and dance drama. ... Since then, song and dance dramas have become more and more developed. By the Tang Dynasty, they were strongly stimulated by Hu music, Hu dances, and Hu operas. They also interacted with legends, novels, talks, singing, chants, and various literatures and arts that were popular in the society at that time. Questions and answers, etc. have been generally deepened. Therefore, following the natural trend of the development of acting skills, the five elements of music, singing, dancing, acting, and speaking have been integrated to advance the story, strengthen expressions, and improve the effect. The system of our country's drama, This is actually complete. "(According to "Tang Jiao·Distinguishing Style")

These theories have put forward their own basis. However, there are many factors in the formation of Chinese opera. For example, the origin of witchcraft and dance is indeed very ancient, but the original songs and dances are not only It is a kind of witch dance. Puppet play and shadow play also have an influence on opera. During the formation of Southern Opera, shadow puppet play was indeed popular in Wenzhou and the southeastern coastal areas. Zhu Xi banned puppet show in Fujian, and his student Chen Chun also banned it in the same place. Performing Nan Opera (according to He Qiaoyuan's "Book of Fujian"). However, to say that Nan Opera only came from puppets would be to exclude the others. At that time, various singing and dancing arts in rural areas in Jiangnan and the southeastern coastal areas were very important. The influence of puppet theater on the formation of Yuan opera and Sanskrit opera on the formation of opera is still lacking and needs to be studied.

The debate on the formation time of opera is a concept of opera. There are different views on the issue. It is generally believed that performing arts and opera should be distinguished. Acting, dancing, singing, singing and dancing, cross talk, rap, martial arts, etc. are all performing arts; although opera is also a form of performing art, all of them cannot be included. Wang Guowei described the dramas of the Song and Yuan dynasties as real dramas, which meant to define the scope of the concept. This term "drama" should be beyond reproach in terms of Chinese operas.

The origin of Chinese opera

Pre-Qin period

(1) Pre-Qin - the budding period of opera. "Nine songs" are the lyrics of songs and dances used to worship gods. From the Spring and Autumn Period and the Warring States Period to the Han Dynasty, songs and dances to entertain people gradually evolved from the Han and Wei dynasties to the mid-Tang Dynasty, and "horns" that mainly focused on competition appeared. "Arrival" (i.e. Baixi Opera), "Joining the Army Opera" performed in the form of questions and answers, and the song and dance "Waking Girl" that plays out life stories, etc., are all nascent dramas.

Mid-late Tang Dynasty

(2) Tang Dynasty (middle and late period) - the formative period of drama. After the mid-Tang Dynasty, our country’s drama developed rapidly, and drama art gradually took shape.

Song and Jin Dynasties

(3) Song and Jin Dynasty - the development period of drama. The "Zaju" of the Song Dynasty, the "Yuanben" of the Jin Dynasty and the "Zhugong Diao" in the form of speech and singing are all based on the Zaju of the Yuan Dynasty. The foundation was laid.

Yuan Dynasty Period

(4) Yuan Dynasty - the mature period of opera. In the Yuan Dynasty, "Zaju" developed greatly on the original basis and became a kind of opera. A new type of drama. It possesses the basic characteristics of drama and marks that our country's drama has entered a mature stage.

Among them, the most outstanding composer is Guan Hanqing, whose masterpiece "The Injustice of Dou E" has always been praised by future generations.

Ming and Qing Dynasties

(5) Ming and Qing Dynasties - the prosperous period of opera. When opera reached the Ming Dynasty, legends developed. The predecessor of the legend of the Ming Dynasty is Nan Opera in the Song and Yuan Dynasties (Nan Opera is the abbreviation of Nanqu Opera. It is an emerging drama form based on the Zaju of the Song Dynasty and combined with the tunes of the southern region. Wenzhou is its birthplace) .

Southern opera is different from Northern opera in terms of structure: it is not limited by four folds, nor is it limited by one person singing to the end. It has an opening to explain the plot, mostly has a happy ending, and is mostly similar in style. Lingering, not as impassioned as Northern Zaju, is freer in form and easier to express life.

It is a pity that very few scripts of early Nan Opera have been preserved. It was not until the end of the Yuan Dynasty and the beginning of the Ming Dynasty that Nan Opera began to flourish. After the processing and improvement of literati, this short opera, which was not rigorous enough, finally became quite complete. full-length play. For example, Gao Ming's "Pipa Ji" is a work that transitions from southern opera to legend. The theme of this work comes from folklore. It presents a story relatively completely and has a certain degree of drama. It was once known as the "ancestor of the resurgence of Southern Opera".

In the middle of the Ming Dynasty, a large number of legendary writers and scripts emerged, among which Tang Xianzu was the most successful. He wrote many legendary scripts throughout his life, and "The Peony Pavilion" is his masterpiece. Through the story of Du Liniang and Liu Mengmei's death, separation, and separation, the work praises the spirit of rebellion against feudal ethics, the pursuit of happy love, and the liberation of individuality. The author gives love the power of resurrection, which defeats the shackles of feudal ethics and achieves the final victory. This point had far-reaching social significance in a society firmly dominated by feudal ethics at that time. This play has been loved by readers and audiences for 300 years since it came out. To this day, "Bouise School", "Jingmeng" and other episodes are still active on the stage of opera performances, radiating the brilliance of its art.

The influence of the Tang Dynasty on opera

The Tang Dynasty was a period of high development of China's feudal social economy, politics, and culture. It was during this historical period that Chinese opera came into being. The highly developed politics and economy provided important social conditions for the emergence of opera, and the booming culture and art provided an unparalleled material foundation for opera, thus greatly promoting its formation process.

The prosperity of literature and art in the Tang Dynasty was the result of high-level economic development, which promoted the independence of opera art and provided rich nutrition to opera art. The rhythm of poetry and the maturity of narrative poetry gave opera decisiveness. Influence. The prosperity of music and dance provides the strongest performance and singing foundation for opera. The professional research and formal training of Jiaofang Liyuan have improved the artistic level of the artists, accelerated the dramatization process of song and dance, and produced a number of opera repertoires that use song and dance to tell stories.

In the prosperous Kaiyuan era, living and working in peace and contentment inevitably required more cultural entertainment, especially mass opera activities and folk entertainment activities, which tended to be more leisure-time "self-entertainment"-style entertainment. It is also a way for them to exchange feelings and learn culture, history and morality.

Common sayings and proverbs about opera

1. There is no skill in speaking, and the words cannot be heard clearly.

2. The words are not correct and cannot be heard clearly, and the accent is unclear and hard to listen to.

3. The words are unclear and the singing is unclear.

4. There is no difference between the two, saving the scene is like putting out a fire.

5. If a play is suitable, it will be lost if it is not.

6. If you don’t practice for one day, you will recover. If you don’t practice for two days, you will survive. If you don’t practice for three days, you will die.

7. Use familiarity as skill and skill as skill.

8. Art is a treasure that cannot be acquired without learning.

9. Being polite is called drama, but not being polite is called fart.

10. Use your energy in work, and use your skills in drama.

11. Pretend to be three lights in the morning and three panic in the evening.

12. A cry on the stage makes thousands of people cry; a laugh on the stage makes thousands of people cheer.

13. If you open your mouth on the stage, you will know if there is one.

14. The audience is quiet, and you can hear clearly even if the sound is low. There is no movement in the audience, no matter how loud the voice is.

15. The stuff is fake, but the spirit is real.

16. The play is ruthless and immovable, the play is unreasonable and unconvincing, and the play is absolutely shocking.

17. Only when you learn how to be shy can you know that your skills are not high.

18. When an actor steps on stage, one step is worth a thousand dollars.

19. If you want to have a successful career, you must rely on your childhood skills.

20. If you want to be good at art, you have to work hard.

21. Work hard and skillfully again, dismantle and wash again and make new again.

22. If you don’t practice for one day, you will know. If you don’t practice for two days, your peers will know. If you don’t practice for three days, the audience will know.

23. Only when you know the opera’s literature and theory can you sing a good opera.

24. One minute on stage, ten years off stage

25. There is no big or small thing on stage, but rules are established off stage.

26. Four or five people can serve as an army.

27. Practice in private and see you on stage.

28. You can reach the end of the world in a dozen steps.

29. Three-thirds of appearance, seven-cent of eyes.

30. A hundred days of flute and a thousand days of flute, a small huqin will break your waist

31. If you don’t practice for three winters and two summers, how can you learn to sing, read, do, and play?

32. Those who sing are "madmen" and those who watch the opera are "fools".

33. Only when you hit a snag in singing will you realize that your skills are not good enough.

34. If you have mastered kung fu, you won’t have stage fright when you go on stage.

35. A good flower must be accompanied by green leaves, and a good horn must be supported by everyone.

36. A good show can make people drunk, but a bad show can make people fall asleep.

37. Teach the disciples and starve the master to death. There are only number one apprentices, not number one masters.

38. For pure conduct, you need to support it; for simple conduct, you need to loosen it; for raw conduct, you need to bow; and for martial conduct, you need to focus on it.

39. Orchid hands, lotus leaf palms, fists like phoenix heads.

40. Practice until you are old, sing until you are old, and you will not be old until you are eighty.

41. Adagio is important, allegro is stable, and loose movement is accurate.

42. When you are slow, you need to relax, when you are tight, you need to be tight. Only when you are slow and not too slow will it be considered as merit.

43. It is better to lose in the backstage than in the frontstage. Only high skills are allowed but not boldness.

44. Seven points of chanting and three points of white chanting, white is bones and singing is flesh.

45. Qianjin’s words are sung in four ounces, and three points are sung and recited, and seven points are composed.

46. The tune is easy to sing, but the taste is hard to get rid of.

47. Study hard and master all kinds of skills, and practice hard to develop real skills.

48. The fist never leaves the hand, and the song never leaves the mouth.

49. Sun and moon lanterns, cloud tents, wind and thunder drum boards, a great drama between heaven and earth; Tang Wujing, civil and martial arts student, Huan Wenchou at the end, all ancient and modern people are characters.