Most of the operas in Yang Jiajiang are based on folk oral literature. It is deeply loved and welcomed by the people of China, and now it has a strong vitality for hundreds of years. Of course, it can't be separated from the painstaking efforts of countless pear garden predecessors, which makes the seeds of opera deeply rooted in the hearts of the audience. Yang Jiajiang's role played by the actors on the stage has unique diligence, courage, wisdom, kindness and justice. These excellent traditional Chinese opera arts are really worthy of being rescued and excavated by artists today. We should not let the "national treasure" handed down by our ancestors disappear into our hands. Don't wait a few years for our children and grandchildren to face the classic lyrics in the script and still don't know what they are. At that time, we will be offended by traditional Chinese opera, and we will have no face to face the ancient national art in China.
Related drama
The filming of the film "The Daughter of Yangmen" made the movie audience addicted to drama. This film is based on the folklore Twelve Widows' Journey to the West and Hundred Years of Yang Opera. The film reads as follows: Tian Bo House is full of jubilation, and She Taijun, a centenarian, is holding a 50th birthday party for Yang Zongbao, the grandson of the frontier guard. Jiao Tinggui and Meng Huaiyuan, who came back from the border, brought the bad news of Yang Zongbao's death. Shoutang immediately became a mourning hall, and Yangmen was in grief for a while. At this time, the court was afraid of strong enemies and wanted to make peace. She Taijun tried to suppress grief and indignation, and led his widowed daughter-in-law, granddaughter-in-law, and great-grandson Yang to refute Wang Hui. Young Yang also asked to go out to avenge his father. Mu, his mother, was willing to go out with his son, but Chai Jun, his grandmother, was worried that he was an only child and was not allowed to go out. She Taijun let their mother and son compete to stay. In the Potters Competition, Yang won with a plum blossom gun at the instigation of his seventh grandmother and with the acquiescence of his mother, and eventually went to the border with the army. In the battle before the battle, the invading Xixia king was defeated and returned to the old camp. He was stubborn and took advantage of natural disasters to drive him out of the valley and threaten the Yang family. This plan was discovered by Taijun and Guiying. According to Yang Zongbao's last words and the groom Zhang Biao's statement, they confirmed that there is indeed a plank road in Hulu Valley, which can leap over the natural barrier and take the enemy camp by surprise. So Mu asked to withdraw, and broke into the valley, Taijun allowed, and proposed the White Mountain to strengthen his trip. After Mu Muzi and Yang Qiniang led an elite team into the valley, they went through hardships and twists and turns, and finally boarded the plank road with the help of an old man who knew the way to collect medicine. At this point, the Xixia King had besieged Taniguchi and threatened to set fire to She Taijun. Centenarians are unmoved. Suddenly, I saw the flames in the enemy camp, and knowing that Guiying's surprise attack was successful, I led my troops to pounce on the enemy camp, flanked both inside and outside, and wiped out the Xixia soldiers. This colorful opera art film won the Hundred Flowers Award in the early 1960s. And became a reserved program of China Peking Opera Theatre.
Mu, played by Mei Lanfang, a master of Peking Opera, became a highlight in the history of China opera. When rehearsing the play, Mr. Mei was 65 years old, but his stage style was never less than that of that year. As a masterpiece of Ji Shan created by Mr. Mei before his death, the play caused a sensation once it was staged, and it also became a representative repertoire of Mei School. Among them, the most artistic value should be "holding a seal". In this scene, the most brilliant thing is Mu Guiying's two different complex psychology before and after he took office. "I didn't ask if I was in trouble, nor did I ask how many feelings I evoked when I saw Shuai Yin. Yang Jiajiang gave her life and left her home to decide her country. The song of triumph was also favored by others, and I added a new grave ... that's why she vowed not to lead troops for the Emperor of the Song Dynasty. However, after the old lady's education of "saving the troops from the fire and retreating from the enemy in Dont Ask For Help since ancient times", especially when the centenarian swore that you wouldn't be commander in chief, I would be commander in chief and you wouldn't lead the troops, the heroic ambition of this epoch-making female hero was finally aroused, so she sang the representative work of Peking Opera, namely [Xipi Third Board], and then [Allegro]. Among them, Mr. Mei had a beautiful figure when he performed "Holding the Seal". Master turned the images of some great martial arts students into Mu Guiying. In Qingshishan, he captured the figure of Yang Xiaolou, a martial arts student, who sealed the seal, absorbed Jiang Wei's star-gazing action in Tielong, and arranged the characters used by Shi Wengong in Revenge with One Arrow with nine hammers and a half drums. Let these sixteen sentences be sung in one go, slow is a small bridge, and urgent is a jade plate. Show a heroine who doesn't want a man's eyebrows on the stage.
The Innovation of Local Opera in Qing Dynasty to Traditional Yang Jiajiang Stories
There are two traditional Yang Jiajiang stories in local operas in Qing Dynasty. One is the transplantation and adaptation of traditional stories, such as Golden Beach, Tianmen Array and Yang's The Journey to the West. One kind is the stories newly compiled by folk artists, such as Shiro Visiting Mother and Yang Bamei's Spring outing. Traditional stories are mainly based on Yang Jiajiang's legends and court plays. While touching the stories of romance and court drama, this kind of drama inevitably accepts their ideological influence and regards loyalty to the country as the basic theme of the drama. However, the influence of tradition, however great, is only one aspect after all. The Qing Dynasty was an era of total collapse of China's feudal society, and the capitalist factors within the feudal society further developed. In the field of ideology, the ideological, academic, and literary departments joined forces as a "heretical" force against feudal orthodoxy, forming an anti-feudal enlightenment thought. The newly edited local drama Yang Jiajiang Story is a branch of this "heretical" force among the people.
The anti-traditional "heresy" tendency in the development stage of Yang Jiajiang's story is obviously manifested in the change of theme. Mr. Lu Xun once said: "The times are changing, and people's feelings are different from those in the past. After a long time, they are a little tired and gradually stop flowing ... The reason for this is that a literati may regret The Red Chamber ... A popular feeling can no longer be in The Water Margin ..." Not to mention protecting the king and so on. As a result, the content of Yang Jiajiang's plays shows a trend of "humanization", from blindly expressing loyalty and courage to expressing people's joys and sorrows. Japanese scholar Aoki Changji wrote when describing the performance of Yang Jiajiang's opera:
Recently, many people performed one of his deeds with Peking Opera. In addition to Li Lingbei, there are Bai Ying's visiting mother, Mu Kezhai, Yuanmen Chopper, Yanmenguan and so on. Very popular with the audience.
From the repertoire listed at this time, it can be seen that the popular Yang Jiajiang drama on the stage, with its joys and sorrows far exceeding the traditional loyalty story, is "extremely popular under the stage". At the same time, under the influence of the prevailing atmosphere of "male and female drama" on the stage, Yang Jiajiang's marriage stories emerge one after another. Almost every member of the Yangjiamen has a romantic story. Not only traditional wedding dramas (Yutangguan, woodcut fasting, etc. ) was widely circulated, and the contents of the wedding mentioned in the Romance were perfunctorily turned into a drama (Henan Opera "No.1 Scholar Media", also known as "Zheng Fuyang Qin"). Even some martial arts dramas (Dragon Valley, Lonely Luan Array, etc. ) Nine out of ten people describe the confrontation between the two countries positively. No matter how different the ideological content of these plays is, the change of the theme has exposed the indifference and anti-traditional tendency of the audience and artists to the old theme.
Many experts in the field of Chinese drama have always believed that the humanization tendency in the Beijing opera "Shiro Visiting Mother" is a kind of "alien and ideological infiltration" that "runs counter to the opposite". This is not true. In fact, the performance of Yang Jiajiang's stories on the stage at that time not only showed the trend of "humanization" of the theme, but also the contents of some traditional stories had undergone profound changes. In the old story, the heroes of "loyalty to the liver and bravery, winning glory for the sun and the moon, shaking the dry Kun" were pulled back from the sky to the world one by one. Traditional Chinese opera artists have injected the blood of ordinary people into the veins of these loyal ministers and generals who "treat the son of heaven with their hearts" and filled them with the feelings, desires and weaknesses of ordinary people. Borrowing the concept of "modernization" means that heroes are "non-heroes".
The story and romance of Yang's Death Festival show the grief and indignation of the hero who was hurt and whose ambition was hard to pay. This can be seen from Yang's inscription in Liling Temple:
He died because "the saint saw that I was very kind, and I actually defended the side and asked the thief to answer back." I didn't mean to be forced by treacherous court officials, which led to Julian Waghann's defeat. How can I live! " However, in the Peking Opera "Touching the Monument and Signing", the tragic artistic conception of the protagonist's ending was replaced by another sad and touching feeling of father and son. Although the drama retains the traditional plot of "letting the public touch the monument", the whole artistic conception has undergone a qualitative change. The play begins with Yang's Bad omen, which leads to Yang's touching plots such as Yumeko, Biezi and Wang Zi. Your father's motivation for touching the monument has also changed from the death stage of "If you are captured alive and humiliated by the Liao people, it is better to die than to be late" to the despair stage of "being trapped in two wolf mountains, starving during the day and being blown by the wind at night, hoping that the soldiers will not arrive and the children will not return". This old-fashioned drama, which focuses on singing skills, almost completely uses vocal music to express the characters. The whole set of "Huang Er" singing "I hope Joule can't help crying" showed your father's worries from the beginning, which set the tone for the whole play. As a "playmaker", a large section of "opposition" fully shows the painful mood of Yang's father-in-law at this moment by tracing back to Yang's unfortunate ending. Especially those two "my sons!" Big cavity, it is the painful and sad song of the character whose feelings reach the peak. If the traditional story accuses Pan Renmei of playing politics through the consequences of "Julian Waghann's defeat", then Beijing Opera exposes the ferocity of the powerful officials through the family tragedy of "a family without a master". The latter's "humanization" tendency is very obvious.
Opera artists not only deviate from tradition, but also boldly express human feelings, and satirize inhuman characters with old stories. The story of beheading does not show Yang's ruthlessness in Romance. His "imprisonment" of Zongbao is only "afraid that he will lust after his own wedding and not break the array with his heart". 165438+ This comedy praises Renhuai's victory over "Wang Fa" through the image contrast of "I am grateful that she has no father and son today, but she still has the feeling of husband and wife there". 12. Although this is at the expense of "defecting to the Song family", it actually does not conflict with the king's law, but it is somewhat biased.
On this basis, some outstanding representatives of Yang Jiajiang's new novels reappeared a more distinct "heresy" tendency. They made a brave impact on the old tradition with bold innovative spirit and humanistic thought.
Similar to the works of the European Renaissance, these dramas "Shiro Visiting Mother" and "Yang Bamei's Spring Tour" are all adapted from old stories and make use of legendary figures and some plots, but they have been given a lot of play and thorough transformation, completely getting rid of the traditional theme of "loyalty to the monarch and serving the country" in the stories. Take Shiro's Visit to Mother as an example. It is based on the confrontation between the two countries of "rivers of blood and mountains of bones". This image reveals the playwright's aversion to this kind of war implicitly and expresses the working people's desire for a peaceful and stable life through Yang Jiajiang's separation of his wife and children and their extremely painful inner world. This change of theme is not only a leap from the old model in art, but also a great leap in thought.
In the new story, Yang Jiajiang's legendary image has also injected new blood. Yangmen women will no longer be praised for their loyalty to the country and their death in the battlefield. She Taijun, who dared to mock the emperor, and the eight sisters and nine sisters who dared dispatch troops to resist marriage in Eight Sisters of Yang are all dazzling with their rebellious spirit. The princess in the mirror in Shiro Visiting Mother is also different from the princess image in romance novels because of her kindness, frankness, passion and wit.
For all kinds of feudal consciousness in traditional stories, the new stories have been broken to varying degrees. A "Shiro Visiting Mother" almost denied the feudal orthodoxy and Han chauvinism in traditional stories. In the traditional story, the Liao War is on a par with the agricultural intellectual who suppressed the uprising of ethnic minorities. This is the same as "Water Margin", which compares the levy of Liao with the levy of Fang La. In fact, it is based on the orthodoxy of the Song Dynasty and regards minority regimes and peasant uprisings as "thieves". Shiro's Visit to Mother can get rid of the shackles of this concept, dare to face up to history, and dare to remind Song and Liao that the essence of feudal war is "the two countries defeated their soldiers without fighting" and "each country is the main one". In particular, it is based on the plot of being captured and married, which arranges the dramatic plot that Xiao and Yang are both in-laws and enemies. Through the ties of Yang Silang, two families were trapped in the misfortune brought by the war at the same time. The significance of this description is not only to expose the misfortune and pain brought by the war to individual families in general, but also to reflect the suffering brought by the disharmony between ethnic groups to the two ethnic groups. This shows that the author can jump out of narrow national prejudice and have a deeper insight into history.
It is worth mentioning that the newly produced story is contrary to the moral education of traditional stories with strong human feelings. The ideological content of Shiro Visiting Mother has been debated for thirty years. Some people think that it advocates "recruiting, surrendering and rebelling", while others compare Yang Silang to "affinity" in history. In our opinion, these are not in line with the most basic and main content of the play. The central content of Shiro's Visit to Mother is summed up in two words, namely "human feelings". The whole play consists of three parts. The first paragraph describes Yang Yanhui's homesickness and the feud between husband and wife. In the second paragraph, the process of visiting my mother (going through customs, patrolling the camp, seeing my mother and crying in class) focuses on Yang Jiajiang's pain "Where are you going?" The third paragraph, the consequences of visiting mother (receipt), although mixed with some vulgar rituals, but the center still does not feel the separation of flesh and blood. Around the drama entanglement of forgiveness and killing Yang Yanhui, there is a conflict between human feelings and kingship. In the end, human feelings prevailed over Wang Fa. There is indeed a concept that human feelings are above everything else. Some critics think this is the "reactionary ideology" of Shiro's visit to his mother. The argument of 13 lacks historical viewpoint. The evaluation of any historical phenomenon should not be generalized to draw conclusions. Just as we can't generally affirm that "law enforcement is like a mountain", we can't generally deny the description of "human feelings are supreme" in Shiro Visiting Mother. First of all, it is unreasonable to ask the author of Shiro's Visit to Mother to describe human feelings from the perspective of class. Secondly, this description of human feelings serves the theme of the play. Where are you going? The purer and deeper the description of the feelings of the Yang family's mother, husband and wife and brothers, the more touching and profound their sufferings, and the more powerful and vivid the exposure of the feudal war. Thirdly, in view of the moral dogma of the traditional story "loyalty and righteousness are supreme", the description of human feelings in Shiro's Visit to Mother runs counter to it and has anti-feudal significance. In traditional stories, the description of the relationship between people is often only a dry concept. All the love between parents and children, the affection between husband and wife, and the brotherhood ... are submerged in the obligation of loyalty to the king. In the past, many comments analyzed the democratic tendency of love and marriage description in Yang Jiajiang's novels. In fact, the independent marriage in traditional stories is essentially different from the pursuit of love in plays such as Zhuo Wenjun and The West Chamber. Yang Jiajiang's marriage is closely related to its obligations to the feudal country. While describing private marriage, the author emphasizes that Mu is also a "loyal queen", which shows that she is suitable for the Yang family. On the other hand, marriage is also associated with offering dragon trees and breaking ground-"entering the Song Dynasty" is the basis of marriage. After all, this is just an independent feudal political marriage. Almost all marriages in Yang Jiajiang are inseparable from this model. In view of this pattern, Shiro's Visit to Mother only raised human feelings to the supreme position. This is a kind of "awakening of human nature" under the pressure of feudalism. This anti-feudal ideological tendency is a powerful breakthrough to the old tradition in New Stories.
The seeds of capitalism in China have not been solid since the 16th century. Reflected in the ideological field, the anti-feudal enlightenment thought lacks the huge momentum of "soaring" in European history. Therefore, in the development stage of Yang Jiajiang's story, the force against feudal tradition is not strong. There are only a few humanistic works like Shiro Visiting Mother. This is one of the reasons why Shiro's Visit to Mother has not been understood for a long time.
From a broader perspective, the innovative spirit of Yang Jiajiang's novels, such as Shiro's Visit to Mother, is closely related to the anti-feudal enlightenment of the whole cultural circle in the Qing Dynasty. The development of these plays on the theme of Yang Jiajiang's story is the same as the rebellion of the Eight Eccentric Groups in Yangzhou against the orthodox landscape paintings of the Four Kings in Qing Dynasty, and its basic spirit is to oppose the bold innovation of the old tradition. However, dramas such as Shiro's Visit to Mother used human feelings to fight against moral preaching, which was consistent with the fierce attack on universal ethics by the ideological circles at that time. No matter how limited their criticism is, as long as they are against feudal oppression, they have indelible historical achievements.
The story of Yang Jiajiang.
In Daixian County, Shanxi Province, there is a bell and drum tower with great spirit. On the front and back, there are two huge plaques, namely "Three passes of the heroic earthquake" and "Four Great Classical Novels". Legend has it that this is a precious cultural relic that has been handed down to this day to commemorate Yang Jiajiang's immortal feats.
When it comes to Yang Jiajiang, the first thing people think of is Yang Ye. In the history, this famous generation of famous generals joined the Northern Han regime in Taiyuan in the year of weak crown, and was trusted by the Northern Han emperor to serve as the capital Hou Xinwei. At that time, Song Taizu and Zhao Kuangyin had seized the regime of the Later Zhou Dynasty and established the Dasong Dynasty, and the overall situation of national reunification was set. Yang Ye put forward the proposal of "returning the country to the Song Dynasty" to the Northern Han Emperor Liu Jiyuan, which met with opposition. However, he was deeply grateful for Liu's kindness. He did not change his mind to vote for Song, but gave his life to defend the Northern Han regime. Later, the Northern Han Dynasty was defeated, but Yang Ye still struggled with Song Jun in the south of the city. Song Taizong had long heard that Yang Ye was a brave general, so he sent his cronies to surrender. When Yang Ye saw the envoy sent by Liu Jiyuan, he wept bitterly and surrendered to the Song Dynasty. Song Taizong, because he was "old in frontier affairs and well versed in the times", appointed him as the left general, knowing that Daizhou and Sanjiaokou were deployed with military forces stationed in the berth, and Pan Mei was deployed with Hedong Sanjiaokou to shoulder the heavy responsibility of defending the Khitan in Shanxi. In fact, Pan Mei is just a hollow name, and all the burdens are on Yang Ye, who is at the front of Daizhou.
Yang Ye was good at riding and shooting since he was a child, and he loved hunting, and his martial arts was also high. Every time he hunts, he always gets twice as much as others. He said to his companions, "I will lead troops to fight in the future, just like a falcon chasing rabbits."
Yang Ye lived up to Song Taizong's great trust, and successively built six soldier villages: Wu Yang Village, Hunzhai Village, Xisongsai Village, Yueru Village, Hugu Village and Dashi Village (all in Fan Shi County). In March of the fifth year of Taiping and Xingguo (AD 980), 100,000 people from the Khitan army came to attack Yanmen. Yang Ye led his troops to intercept and surprise attack, defeated the Khitan army, killed the second, Xu and Xiao Duli, and captured Li Chonghai alive. From then on, when the enemy soldiers saw the banner of "Yang", they were frightened to disgrace and retreated without fighting, calling Yang Ye "invincible Yang". Therefore, the imperial court promoted him to the secretariat of Yunzhou, and he still knew Daizhou. Yang Ye was stationed in Yanmenguan for eight years, but the Khitan army never dared to invade.
Yang Ye's outstanding military exploits made some narrow-minded colleagues jealous. Some people wrote anonymous letters to Song Taizong to slander Yang Ye. Song Taizong didn't believe it, but he sealed these slanderers and gave them to Yang Ye to show his trust.
In the first month of the third year of Yongxi (AD 986), in order to completely solve the border harassment caused by Qidan, Song Taizong insisted on an all-round attack on Qidan and ordered three divisions to carry out the northern expedition: on the East Road, Cao Bin and Cui led the main forces to attack Youzhou from Xiongzhou in the north; Zhonglutian re-entered the command and Dingzhou attacked the flying fox; The West Road was commanded by Pan Mei and Yang Ye, leaving Yanmenguan and attacking Shuozhou (now Shuoxian County, Shanxi Province), Huan (now Shuoxian East, Shanxi Province), Yun (now datong county, Shanxi Province) and Ying (now Yingxian County, Shanxi Province). The ultimate goal is to join forces with the three armed forces in Youzhou and fight with Qidan. The Third Route Army advanced at the same time, and the Eastern Route Army just attacked and met the main force of the Khitan, and was defeated by Qigou Pass. The middle route army heard that the East Road was defeated and lost without a fight; Only two months ago, the marked armies in Pan Mei and Yang Ye were fruitful, and they recovered Shuozhou, Atlas, Yunying, Yingzhou and other places, and arrived at Sanggan River. However, due to the rout of the defenders in the East and China, they became alone. After the Khitan defeated Song Jun in the East Road and the Middle Road, he mobilized hundreds of elite troops to press on to the Atlas State occupied by Pan and Yang. The court ordered Pan and Yang Lingbing to escort people from Shuozhou, Yunzhou and Yingzhou to Daizhou immediately. Under the circumstances of Enemy at the Gates at that time, it was very difficult to accomplish this task. After careful consideration, Yang Ye put forward a feasible plan: First, send someone to inform the commanders of Yunzhou and Shuozhou to let Yunzhou people go out first when our army leaves Daizhou and goes north. When our army arrives in Yingzhou, the Khitan will definitely send troops to fight. At this time, the people of Shuozhou were ordered to go out of the city to meet the enemy, and cavalry 1 0,000 archers were sent to guard Taniguchi, so that the people could move in safely.
Wang Xian, the army supervisor, and Pan Mei, the head coach, resolutely opposed Yang Ye's actual plan. In order to succeed, they forced Yang Ye to lead the troops against Atlas State. Wang Xian said, "You have tens of thousands of elite soldiers. Why are you so timid? You should go straight out of Yanmenguan and go north! " Yang Ye said, "No, you can only fail." Said insidiously, "Aren't you the so-called natural enemy of Yang? Why dare not confront the enemy head-on? Do you still have ulterior motives? " Yang Ye said angrily, "I'm not afraid of death, but I want to minimize the loss and fulfill the mission entrusted by the emperor. Since you ask me this question, well, I'll go now. " When he left, Yang Ye said to Pan Mei in tears, "This time, I will definitely lose. I am a general of the Northern Han Dynasty, and I am grateful to the Emperor. I am willing to die for my country. " He pointed to Chenjiagu (now south of Shuoxian County, Shanxi Province) and said, "You must arrange strong archers on both wings. When I move here, you will send troops to attack, or we will be wiped out. " After that, Yang jiye set off with his troops. After two fierce battles, Yang Ye was defeated because he was outnumbered. When he retreated to Chenjiagu, Wang Xian and Pan Mei had left Taniguchi with their troops, and Yang Jiye was trapped. Although he fought bravely, he was outnumbered and seriously injured. He fell from his horse and was captured, and finally died of hunger strike. His son air billow also died in this battle.
According to historical records, besides Yan Yu, Yang Ye's sons include Yan Lang, Yan Pu, Yan Xun, Yan Huan, Yan Gui and Yan Bin.
Yang Yanlang was later renamed Zhao Yan, and people called him "Yang Liulang". He is brave and good at fighting, and his orders are strict. He was also a famous soldier in the Northern Song Dynasty. When he was a child, Yang was influenced by his father and liked to play military games. Yang Ye often says to people, "This child is the most like me." Take him to the battlefield every time you fight. During the war, he quickly developed into a brave general. In the third year of Yongxi (AD 986), Yang Ye led an army to northern expedition to Ying and Shuo, sent Yang and fought fiercely with the Khitan army at the gates of Shuozhou. Zhao Yan was shot through the arm by random arrows, but he didn't mind. He fought the enemy even harder. In the winter of the second year of Song Zhenzong Xianping (AD 999), the Khitan army launched a large-scale military attack on the Song Dynasty again, and Song Jun fell one after another. At this time, Yang was guarding Sui City (now west of xushui county, Hebei). Under the siege of Qidan, the city is small and unprepared, and everyone is in danger. Yang quietly led his troops into the city to stick to it without panic. He asked the soldiers to ice the wall with water to make it firm and smooth. The Khitan army could not capture the city, so it had to attack other places by a detour. After the death of Yang Ye, Yang Shoubei defeated the Khitan army for more than twenty years, and inherited and carried forward the Yang family's fine family style of "serving the country faithfully".
The third generation is Yang, the son of Yang, who is also a famous border guard in Song Dynasty. During Song Renzong's time, he served as a general guarding the border between Hebei and Shaanxi. When guarding Shaanxi, it was mainly to defend the Xixia kingdom from the intrusion of the Central Plains.
This is how Yang Jiajiang has done its duty to defend the motherland from generation to generation. Their deeds continue to enter legends, stories, drama stage and film and television drama creation. Ouyang Xiu, a famous writer in the Northern Song Dynasty, praised Yang Ye and Yang, saying that "father and son are both famous, and their wisdom and courage are invincible. Up to now, people in the world, as far as Lear Tree is concerned, can tell the truth. " During the Song and Yuan Dynasties, folk artists adapted Yang Jiajiang's story into a drama and put it on the stage. In the Ming Dynasty, folk writers compiled their stories into Legend of Yang Jiajiang and Biography of Yang Jiajiang, which were widely circulated among the people in the form of novel storytelling. These legends and stories describe Yang Jiajiang's heroic fighting and sacrifice in a very detailed and touching way. They also portrayed Pan Mei, a hero of the Song Dynasty, as a great traitor as a foil, which made Yang Jiajiang's heroic image and aristocratic family style more tall and perfect. Seven Langs and Eight Tigers broke the secluded state and fought bloody battles on a golden beach, led by Mu, a female general of Yangmen, and led by She Taijun's 12-year-old widow's Western Expedition, and ... the vivid image of patriots is widely circulated in the world, so that everyone can't tell which are historical facts and which are legends and legends.
For Yang Jiajiang's fine family style of loyal service to the country passed down from generation to generation, and for a family's loyal and brave behavior of defending the motherland, people tell them, remember them, love them, respect them, and set up a monument for them in various forms.
Under Yanmenguan, there is a village called Ludijian, which is famous for Yangjia ancestral hall. There are more than 65,438+0,000 people in the village, more than half of whom are descendants of the Yang family.
The Yangjia Ancestral Hall was built in the Yuan Dynasty, which is the most complete existing Yangjia Ancestral Hall in China. After Yang Ye's death, he was named "Taiwei" by posthumous title and "Zhongwu" by posthumous title. Later generations named Yang Zhongwu Ancestral Hall, commonly known as "Yangjia Ancestral Hall".
There is a unique and beautifully carved deer hoof stone in front of the ancestral hall. According to legend, when Sun Zhen of 14th Yang Ye was guarding Daizhou, he went out hunting one day and killed a sika deer. The deer ran away with an arrow, and You Yang chased it to Ludijian Village now, and the sika deer suddenly got into the ground. You Yang ordered people to dig, and dug out a strange stone, which was engraved with the pattern of sika deer with arrows and had obvious deer hoof prints. Later, people moved this strange stone back to the temple for storage, hence the name Ludijian Village.
For many years, in order to remember the noble feelings of our ancestors' loyalty to the country, Ludijian Village held a village festival every year, and every year the village festival had to sing operas, including Yang Jiajiang Opera.
"Bloody Battle on Golden Beach" is the most tragic and tragic battle in the legend of General Yang. In this fierce battle, among the seven dragons and eight tigers, Dalang, Jiro, died in battle, Shiro was captured, and Goro became a monk. More than half of the people in the whole Yang family died in the war. The drama Golden Beach shows the tragic story of this hero. However, the villagers in Lukoujian watched all the plays except Golden Beach.
It is said that one spring, when the village was singing a drama, the opera producer ordered "Golden Beach". Strange to say, before the performance, it was sunny and dusty. After the play began, the Khitan soldiers violently attacked Yang Jiajiang. At this moment, a strong wind suddenly blew, flying sand and stones, yellow dust rolling, and it was dark. There was chaos on and off the stage, and the "Khitan soldiers" on the stage had to retreat. After the sandstorm, the audience sat down a little and the stage began to bang again. Lao Yang mobilized the masses to fight and led the troops to meet them. When Jiro and Saburo died tragically on the battlefield, a dark cloud suddenly rolled in from the northwest. In a flash, after the storm, thunder and lightning, pouring rain fell from the sky, and the whole venue became a stormy world.
After the storm, people said: This is the retribution of our ancestors. They don't want us to mention those sad things again. Let's make a scene. Don't make them unhappy. Ok, from now on, we will play Yangjiaqing and never play Golden Beach again. Then I changed to another play. Strangely, it has been sunny for several days in a row.
Of course, this is just a folklore, and people don't need to examine its authenticity. However, it is true that people in Rutijian village never watch the play "Golden Beach". Because they don't want to recall the sad past of their ancestors, and they don't want this tragic scene to disturb their spirits in heaven again. What they expect is a world without aggression, without war, only with peace and tranquility.
The great spirit of serving the country courageously, which is condensed in the legendary story of General Yang, is a kind of sustenance for China people to resist aggression, defend the motherland and pursue peace and good hope in the face of thousands of years of invasion and bullying by western powers. In pursuit of this hope, Yang Leling sacrificed and continued to fight with Yang. When a man dies, women such as She Taijun and Mu Guiying continue to fight; When the master dies, Yang Paifeng and other servants and maids will continue to fight. In the history of China, the Yang Jiajiang family is by no means the only example of this loyal family style. In Shaanxi alone, there are the Xue family generals of Xue, Zhou and Hu, and the Hu family generals of Huyan Zan and Hu. The legends and stories of these generals reflect each other, full of strong patriotism and shining with brilliant idealism.
Outside Yanmenguan, Yang Jiajiang once fought on the ancient battlefield named Golden Beach, which used to be a sword. The bonfire of smoke has long gone with the wheel of history. Today's golden sandy beach, looking around, is shaded by trees, flourishing and fruitful, and has become an orchard with a fragrance of ten miles.
When we pass here by the Beitongpu train, the train announcer or other people who know this place will always point out the window and say, "Look, this is the golden beach where Yang Jiajiang fought." The audience turned their eyes to the outside of the car, looked at this unrecognizable old place, remembered the deeds about Yang Jiajiang, and raised reverence in their hearts.
Yang Jiajiang, Xue Jia and Hu Jiajiang have gone far beyond the historical scope and sublimated into an indomitable national spirit, inspiring generations of China to work hard for the rejuvenation of China.
The real Yang Jiajiang in history
Yang Ye's real name is Yang Chonggui, and his father Yang Xin is a local tyrant in Linzhou. During the Five Dynasties chaos, he occupied Linzhou and claimed to be the secretariat. Due to the turbulent situation, he joined the Hou Han and the Hou Zhou. About the time when Yang Xin joined the Later Han Dynasty, in order to make friends with Liu Chong, who was appointed as our envoy in Hedong at that time, the young Yang Chonggui was sent to Taiyuan. After Yang Xin took refuge in the Zhou Dynasty, Yang Chonggui stayed in Taiyuan. After the death of Yang Xin, he and his son Yang Chongxun (Yang Ye's younger brother) succeeded the secretariat and joined Liu Chong in the Northern Han Dynasty with Linzhou. Later Yang Chongxun joined the Zhou Dynasty. Despite this repetition, Yang Chonggui's life in Taiyuan was not affected by the chaotic and special times of the Five Dynasties. Young and brave Yang Chonggui is highly valued by Liu Chong. He adopted Yang Chonggui as his adopted grandson and changed his name to Liu. Liu initially served as the defense commander and was famous for his bravery. Because of his merits, he was promoted to the army of Xiong Jian. Because of his outstanding military exploits, Liu was invincible, and the people of China called him invincible. However, Liu's achievements in the Northern Han Dynasty for more than 30 years were wasted.