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In the Song Dynasty, the variety of operas was unprecedented, and the art of rap reached its climax. According to the literature records, at least one of the hundreds of operas in the Song Dynasty that are clearly the art of singing and singing include: Telling History, Shuo San San, History of the Five Dynasties, Novels, Shang Riddles, Hesheng, Shuo Jihua, Shuo Jing, Zhugong Diao, Xue Xiang Sheng, Xue Xiang Talking, calling for fruit, singing and playing orders, singing to earn money, singing in small numbers, etc.

The art forms related to cross talk in hundreds of operas in the Song Dynasty can be divided into three categories: storytelling, learning, and word games, which are listed as follows:

Shuo - speaking jokes and speaking scriptures.

Learning - learning is like a student, Qiao is like a student, learning about hometown talk, and begging for fruit.

Word games - business riddles, hesheng.

In addition, there are also sand books and medicine names.

Section 1 Art forms related to the "speaking" of cross talk

The art forms related to the "speaking" of cross talk in the Song Dynasty include telling jokes and telling scriptures. Hey, catch him and make fun of him. Talking nonsense and making jokes developed from speaking and expounding scriptures, which is "speaking" and "preaching scriptures" in a sarcastic way.

"Speaking" has a long history. "Mozi. Plowing Pillar" contains the following: "Those who can talk and debate debate; those who can storyteller tell stories." The "storytelling" here is not the art of rap, Liu Xiang's "Biography of Women" records the storytelling activities of ancient blind people. "Talking" was recorded in the Sui Dynasty, and it was the activity engaged in by the aforementioned joke king Hou Bai. In the Tang Dynasty, "speaking" spread throughout the court and the public, and became very popular for a while. Guo Si of the Tang Dynasty recorded in "The Biography of Gao Lishi": "The Supreme Emperor moved the palace to the west and settled it in the west. Every day the Emperor and Duke Gao would clean the courtyard and shave the grass and trees; they would also lecture, discuss, change, and speak, although they were not very literate. In the Tang Dynasty, "talking" and "speech" by city people and monks' "secular" can be regarded as the source of "talking" and "preaching" in various plays in the Song Dynasty. The urban novels of the Tang Dynasty were included in the "Miscellaneous Operas". Duan Chengshi's sequel volume 4 of "Chief Yang Zazu" records in the "Derogatory Mistakes" chapter: "At the end of Taihe, on my brother's birthday, I watched a Zaju opera. There was a novel by a city man who called 'Bian Que' '芊que', with the character Shangsheng. I ordered the guest Ren Daosheng to write the word Zhengzhi. People in the city said that twenty years ago, when the Shangdu Qihui set up this place, there was a scholar who even heard that the word "bian" had the same sound as "褊", and everyone in the world made a mistake. ”

“Public lectures” are monks’ sermons in temples, which are closely related to the art of cross talk.

The "back words" of cross talk are similar to the "Ozuo Wen" of "Vulgar Talk". In the early days of "laying down" the art, it was also a matter of throwing words on the sand while singing "Men Liu'er". Later, crosstalk entered tea gardens and theaters, and most of the crosstalk was changed to talking, but there are also singing.

The "base" of cross talk is similar to the "Jie Zu Wen" of "Vulgar Talk". The difference is that "Jie Zu Wen" uses poetry, while the "base" of cross talk must be "baggage". To this day, "Liu Huo'er" in cross talk often sings "saving the bottom".

The comparison of the structures of "Public Talk" and cross talk is as follows:

"Public Talk": "Common text" - "Opening topic" - Speaking and singing scriptures -" "Execution of the seat"

Cross talk: "Back words"-"Ladle handle"-"Zhenghuo"-"Bottom"

In the Song Dynasty, "talking" became more prosperous . Peking University's "History of Chinese Novels" summarizes them into four families:

Novel: also known as Yinzi'er, which is spoken and sung with Yinzi Sheng, Yinzi (salty lower corner) (Zhutouli) Accompaniment, dedicated to the performance of short stories.

Speaking of Sutras: It evolved directly from the "popular lectures" of the Tang Dynasty, including Shuo Shenqing, Shuo Jing, etc., all of which tell religious stories.

Telling history: just talking, not singing, telling long historical stories.

Hesheng: It may be performed by two people, one person points to the object as the theme, and the other person should chant the theme, sometimes accompanied by singing and dancing.

In addition to Hesheng, which is a game of language and words, which has a profound impact on the "study" of cross talk in later generations, preaching scriptures and historical facts pioneered the art of storytelling in later generations. Storytelling since the Yuan and Ming Dynasties has had a significant impact on stand-up comedy in later generations. Some early stand-up comics evolved from storytelling.

For example, "The Thief and the Ghost Seizes the Knife", "Zhang Yi Lives in the Shop", "Ma Shou is Born", "Song King Kong's Bet", "Kangxi's Private Visit to Yueming Tower", "The Fight between Kings and Ministers", which are known as the "Eight Big Sticks" in stand-up comedy, "Back to the Three Kingdoms", "Double Locust Tree", "Jie Xueshi", "King of Antiques", "Second Master Shuo", "Yao Jia Jin", etc. can all be said to be excellent medium-length storytelling.

If the influence of "speaking" on later generations of cross talk mainly lies in the storytelling aspect, then the influence of "telling jokes" and "telling scriptures" on later generations of cross talk focuses on the comedy aspect. Mainly manifested in two aspects:

On the one hand, it is mixed with jokes.

On the other hand, tongue debate. "Tongue debate" and "tongue plowing" have a great influence on cross talk, which is known as language art in later generations. The main manifestations are as follows: first, seeing the situation and adapting to the situation. Seeing the situation, adapting to the situation, mainly showing the speaker's wit. The other is "Speech is as sharp as a knife, like the flow of water."

Whether seeing the scene, adapting to the situation, or "speaking as fast as a knife, like the flow of water", all reflect the origin and relationship between "joking" and the art of cross talk.

Section 2 Art forms related to the "learning" of cross talk

The word "cross talk" gradually evolved from "xiangsheng". When talking about the art forms related to the "learning" of cross talk in various operas of the Song Dynasty, we must first talk about "learning to resemble students". The word "like life" has appeared in ancient times. It does not mean performing tricks, but means like real and alive. Among the 100 operas of the Song Dynasty, there are "Xue Xiangsheng" and "Qiao Xiangsheng", which are still imitation techniques.

The "Xue Xiangsheng" and "Qiao Xiangsheng" here should refer to the skills in various operas of the Song Dynasty. Ancient literature sometimes mentions "Xiangsheng", which does not refer to today's cross talk, but has two meanings: one refers to people and the other refers to things.

As an example of a skill that imitates sounds, "fruit calling" can be used as an example. What kind of trick is "fruit calling"? "Calling fruit" is actually "crying", which imitates the shouting of people doing small business on the street. The so-called "acquisition and integration of palace merchants" is to increase the musicality and beautify it appropriately, which is exactly the same as the imitation of cross talk in later generations.

The "study" of cross talk has the so-called "resemblance or not, three points of resemblance", which does not mean that only three resemblances are enough, not necessarily full resemblance, but that although it is impossible to have a full resemblance, it can be The key point is that it must be like "learning like a student" and "making fruits", like real and living things. In this regard, Baixi from the Song Dynasty to today's cross talk are in the same line. So, to what extent is it similar? Volume 9 of "Tokyo Menghua Lu" contains the article "All the officials of the Prince Zhizhi's clan came inside to celebrate their birthdays": "The music has not been started yet, the music in the classroom on the upper floor of the Jiying Palace Hall is accompanied by the chirping of birds, and the inside and outside are solemn. I can only hear the harmonious singing in the air. If Luan and phoenix are flying together. "Imitating the call of birds has reached the stage of confusing the real with the fake. The same is true for "learning" in cross talk. Hou Baolin's performance of "Changing Careers" imitates the sounds of the market, which often arouses warm applause because of its lifelikeness and resemblance.

For those who imitate the state of the world, "Xuexiangtan" can be used as an example. "Xuexiangtan" is the work of "Niu Yuanzi" who wrote "When I was in Bianjing, the villagers rarely came to the city, so I wrote this part. Most of them were pretending to be old people from the villages in Shandong and Hebei, just to laugh at it." The capital of the Northern Song Dynasty was in Bianliang, which is now Kaifeng. They imitated the country people of Shandong and Hebei, who used "timidity" to make fun of them. It is not just a sound imitation, but also modality and customs. The art of cross talk comes from the same strain, and there is a pattern in traditional cross talk. A series of jokes with the word "cowardly", such as "cowardly shaving my head", "cowardly taking a bath", "cowardly selling vegetables", "cowardly looking at faces", etc., all make fun of the word "cowardly", and some have been edited. The situation is very different in traditional cross talk. The purpose is to learn Xiangtan, that is, to learn local dialects, and even imitate Shandong dialect. However, the style of traditional cross talk is different. The discriminatory "cowardice" was replaced by a lively comedy. What is particularly commendable is that it also spreads life knowledge.

In the Song and Jin dynasties, some terms related to Baixi often carried the meaning of "cowardice". There is the word "Qiao", but the specific meaning is different. The name of the music brand; "Liu Qiao", "Zhou Qiao", "Shen Xiaoqiao", "Cai Shi Qiao", etc. belong to the artist's name.

"Qiao Xiangsheng", which is related to the "learning" of cross talk, developed from "Xue Xiangsheng", which is to perform imitation skills in the form of Qiao. So, what does "Joe" mean? To sum up, there are only three meanings: first, imitation; second, virtuality; third, comedy. Among the three, comedy is the core of "Qiao". Li Xiaocang's "He Sheng Kao" pointed out: "The so-called 'Qiao' means pretending to be crazy and pretending to be stupid. The Zaju of the Song Dynasty used Fu Jingse to send Qiao. In the loose set of Tang Shunmin's "Zan Jiaofang Goulan" of the Ming Dynasty, Fu Jing was once sung. He said: "He can pay pure color, with a shy animal face, a strange face, haircut, (to the right of the mouth is a shop), sarcastic, and the appearance of earth and wood is out of the ordinary." Qiao Hesheng's funny and ironic expression , it should be performed in the posture of faqiao. The "learning" of cross talk can be said to be the art of faqiao. On the one hand, it is based on the appearance of life, and it must be learned like real and living. He often makes fun of and organizes "baggage" in the same way as Fa Qiao.

Section 3 Art forms related to Chinese word games in cross talk

The art forms related to Chinese word games in cross talk in Song Dynasty mainly include Hesheng and Shangji.

Hesheng, also known as Hesheng, has a long history. As early as the Tang Dynasty, there was a combination of singing and dancing. "New Book of Tang" records: "After a banquet at the Liangyi Hall, the emperor ordered his brother Guanglu Shaoqing to supervise the wine. The infant was funny and quick, and the scholars laughed at him because he could resist several people. He was drunk, and the barbarians (* ) Zi, He Yi and others sang Hesheng, and the songs were shallow and dirty. "The artist mentioned in the article, Ren Bandang's "Tang Jiao" pointed out: "Yiyan actors performed Hesheng's Erhu in front of Zhongzong, one day (*) Zi, also known as "(*) Zi" should be the so-called "enchanted prostitute" in Wuping. She must win with her voice and appearance. Those who pretend to be princes do not need to be women. "Sun Kaidi's "On Chinese Short Stories in Vernacular" pointed out: " "New Book of Tang" records that (*) Zi, He Yi and others sang Hesheng, which seems to be more than just one person's work. Hesheng was probably played by two people, sometimes dancing and singing, sometimes referring to objects and chanting, which is funny and ironic, and it is similar to the reason of Shangmi. The same goes for those who chant and shoot objects. We can assume that Hesheng is a skill between Zaju, storytelling and business riddles."

By the Song Dynasty, Hesheng had been classified as ". One of the families of "talking", it actually developed in the direction of business riddles and became a game of language and words, which is often seen in literature records:

"Tokyo Menghualu" Volume 5 "Jingwa Jiyi" Zaiyun: "When Wu Baer was born in Hesheng, the people of Zhangshan said nonsense." "Accounting for one thing."

The article "Variety of Artists" in Volume 6 of "Old Martial Arts" records: "Combined Sheng; Double Scholar."

The most detailed account is Hong Mai's. The article "Hesheng" in "Yi Jian Zhi": "There are many female actors on the road between Jiangsu and Zhejiang. Those who are smart and knowledgeable about writing, can point to objects and chant chants on the table, and easily succeed in answering orders are called 'Hesheng'. Those whose humor is full of irony are called 'Hesheng'." "Qiao Hesheng",

It is also a legacy of the Song Dynasty." Then it also described the performance process of "Hesheng";

Zhang Anguo was the governor of Linchuan, and Wang Xuanzi was the governor of Luling County. Seal, touch. Anguo set up a wine group and invited Chen Hanqing, a county official, to attend the meeting. It was time for a prostitute to learn poetry and write poems. Han Qing said: "The prefect's custom is called Five Horses. Today, the envoys from the two states are facing each other, so there are ten horses. You can call them eight." The prostitute stood there for a long time. That is to say, Gao Yin said early in the morning: "We are both servants on the horizon. We met at the head of the river and went on a blind date. They are as bright as the flawless jade that monitors you. They are as warm as Luling and have spring feet. Five horses now become ten horses by themselves. The two of them crushed a thousand people the day before yesterday. There will be Fei Chao urged him to go back, and he wrote a letter to Bing Huajun. "An Guo was so impressed that he was rewarded with thousands of coins."

The person who had the greatest influence on later generations of cross talk was Qiao He. Zhang Qixian's "Old News of Luoyang (扌jin) Gentlemen" records:

There was a woman named Yang Luo who talked about singing. She was good at making jokes, discerning wisdom, and had talents and thoughts. At that time, she was rare to compare with her. Young Master Yang Ningshi calls her his niece because he is smart and handsome. At that time, the monk Yun Bian was able to speak popularly, had articles, and was quick to respond. If the words of worship are to be compared with the person's fame and position, there are thousands of words, all of which are like a structure. This is especially important for young teachers. Yun Bian gave a lecture in the fifth month of Changshou Temple. The young master went to the courtyard and sat opposite Yun Bian, with the singer beside him. Suddenly a big spider hung down from the eaves, facing the young master and the monk. Yun Bianxiao said to the singer: "Try to mock a spider, and the one who succeeds will be given two pieces of silk." The singer did not need to think about it, and responded to the call of the spider, and his intention was not far from the spider.

The young master heard this and fell down. After a while, he shouted: "Monk! Get five pieces of silk!" Yun Bian smiled and offered five pieces of silk to him. The singer mocked the spider cloud: "After eating to full belly (top: defeat, bottom: food), I wander around in thought, setting up a snare in the sky, just waiting to kill all living beings." This is why Gai Yun's body is fat and strong.

Compared with the prostitute in the previous quotation, the prostitute "stands for a long time", but the singer "responds to the sound of ridicule without thinking", which can be said to be better. The lyrics of "Ode to Spiders" are funny and ironic, and it is undoubtedly Qiao Hopson's masterpiece.

Crosstalk inherits Qiao Hesheng's tradition of pointing out things and chanting, responding to orders, being comical and ironic, and is even more innovative and developed.