Feng Menglong, a wonderful work of China Opera, is a story to be told by China Opera.

China opera prodigy Feng Menglong: Feng Menglong (1574— 1646), also known as the owner of Mohanzhai, Maoyuan unofficial history and Qingtian Pavilion. Originally from Suzhou today. Feng Menglong was born in the scholarly family of this famous cultural city, which coincided with the vigorous rise of capitalism. The birth of tradition and the inspiration of the times made him the first hero of China ancient popular literature.

As a dramatist, Feng Menglong's main activities are to modify legends and lyrics, and to give opinions on the creation and performance of traditional operas. As for Feng Menglong's legendary works, there are only two kinds handed down from generation to generation: Tales of Two Heroes and Everything is Ready. Although they can keep the melody and make witty remarks from time to time, they are suitable for performance, but what they write lacks practical significance. Feng Menglong paid attention to the revision and revision of the music score because he saw the legendary works at that time, such as people turning over old tricks and painting gourds at home. The legend is not surprising, and the phenomenon of scattered collection (preface to the music law) is serious. In order to correct this kind of malpractice and revive it, he advocated revising the word spectrum and formulating music methods, so as to complete the spectrum and achieve contemporary talents (ibid.). At the same time, it puts forward three methods of ci-ology, emphasizing that phonological words should not be neglected.

In Feng Menglong's view, an excellent script should be sincere and novel, with strict and coordinated rhymes, clear words and brilliant literary talent, and be good at both on the desk. Feng Menglong was driven by this idea and engaged in the revision of legends. There are dozens of Feng Menglong's revised works, and now there are 17, among which there are many famous works, such as Peony Pavilion, Handan Ji by Tang Xianzu, West Building Ji by Jin Yuan, A handful of snow by Li Yu, Biography of * *, Forever Reunion and Flower Picking Ji. In the process of revision, Feng Menglong emphasized that the purpose of Guan is true, natural and reasonable, highlighting the center and opposing branches and vines. What is more clear is that the "Banner" focuses on generosity, highlighting Yue's patriotism and love for the military and civilians. He also pays attention to the multi-faceted characterization of characters, making them vivid and vivid. In order to better play the role of the legendary cymbals.

In his revised Restaurant, he once endowed all kinds of characters with different personality characteristics. Although women have ugly breasts, they also have self-awareness (Preface to Restaurant). For the melody, Feng Menglong always modifies it according to the soundtrack to facilitate singing. The reason why he wants to revise the Peony Pavilion by Tang Xianzu is because he thinks that this masterpiece with infinite talents is just a book on the table, not a spectrum on the spot (Introduction to Romantic Dreams). Feng Menglong's revised Peony Pavilion is different from Tang Xianzu's original work, but it does make Kunqu opera easy to sing.

Feng Menglong's final edition has been adopted in some famous Kunqu operas, such as Spring Fragrance as a School, Dream in the Garden, Picking up Paintings and Calling them Paintings. Feng Menglong's legendary works played a positive role in correcting the tendency of writing off the stage in the late Ming Dynasty and prospering the opera.

Feng Menglong also has many exquisite theories on the performing arts of traditional Chinese opera. In the preface of A Tale of Two Cities, he suggested that the singer must recognize the Gongdiao, and his voice should be clear and unclear, so as not to confuse and distinguish it. In the more legendary eyebrow reviews, actors are always reminded of where the spiritual knot is and how to do the play; Don't omit any songs when performing. Actors are required to carefully understand the characters' thoughts and feelings, temperament and demeanor, as well as their artistic environment, performance expression and personality. This shows that Feng Menglong is deliberately exploring the laws of performing arts and has made some theoretical summaries.

Feng Menglong's Sanqu Collection "Wan Zhuan Ge" and his poetry collection "Qi Lezhai Draft" have both been lost. From the remaining dozens of works, we can see that his Sanqu is a multipolar work. His poems are well-known. Although he is not a poet, he also has quite a few works. For example, in the "Cui Ke" written by the magistrate of a county, there is a saying that taking green □ early rice to hang white and orphans. As Zhong Xing commented: The next sentence is even worse. It is also very helpless to say a second language from the mouth of an official. (The Return of Ming Poetry, Volume 7)

In addition, Feng Menglong also participated in the proofreading and editing of The Whole Biography of the Water Margin, and commented and sorted out Biography of Ancient and Modern Times, Tai Ping Guang Ji Chao, Think Tank, Love History and Taixia Zou Xin. There are more than ten kinds of jokes, political theories and other works handed down, and he also wrote The Covenant of Lin Jing, which studies the Spring and Autumn Annals.

Literature in the Ming Dynasty is characterized by the prosperity of novels, operas and folk songs. There were many novels and operas in Ming Dynasty, but only Feng Menglong made outstanding contributions in novels, operas and folk songs.