Chapter 17 Section Four: "Construction of Spiritual Civilization" in the Qing Dynasty

The most powerful form of entertainment in the Qing Dynasty was opera. The obsession of theater fans in the Qing Dynasty was no less than that of today's star fans.Some people ruined their livelihood because of their obsession with watching operas, some young girls eloped with the troupe, and some even committed homicide because of this.During the Kangxi period, Saishen, Fengjing Town, Jiashan County, Zhejiang Province invited a troupe to perform.The play is about Qin Hui killing Yue Fei and his son. The actors are very devoted, "the song is full of performance", and an old cobbler who is watching the play is even more devoted, "jumping out of the crowd, going on stage, and stabbing Qin Hui with a sharp knife, bleeding all over the ground" . (Volume II of "Sangang Continuing Knowledge") The actor who played Qin Hui died immediately on the Fengjing stage.

Everyone "sent the cobbler to the official". This person confessed that he was too involved in the drama and "really hated Qin Hui'er".Fortunately, the official who tried the case was also a fan of the theater, so he "pityed his righteous indignation and reduced his crime to manslaughter" and sent him lightly for manslaughter.There is nothing new under the sun. It turns out that the story of Chen Qiang who played Huang Shiren was almost shot to death by the soldiers of the People's Liberation Army in the audience is not the first time in Chinese history.

Emperor Qianlong is also one of the fans, and he is very addicted to it.During festivals, the palace must be full of gongs and drums, and the emperor must never leave the scene.Not only love to listen, sometimes also participate in the creation. "Qing Barnyard Banknotes" contains: "Gao Zong's fine rhythm, as soon as "Picking up Gold" comes out, the imperial song is also made." "Picking up Gold" is a small play in which a beggar is overjoyed because he accidentally picks up a piece of gold, and sings continuously A variety of tunes, both solemn and harmonious, to show joy.Being able to design a singing tune for such a small play shows the depth of the emperor's skills.

It is of course a great honor for the opera industry that the emperor loves and understands opera.Of course, the emperor is an emperor after all, and he sees problems from a different perspective than ordinary people.Emperor Qianlong's understanding of opera work was far deeper than ordinary people.Those who make operas are fond of seeing and hearing the form, and have a large number of fans in different classes, especially on the spiritual world of the people at the bottom, and their influence is unparalleled.While purifying the "upper culture" through "literary prison", the emperor did not forget to pay attention to the mental health of the people at the bottom.And opera is the best "starter" for ignoring the people's spiritual civilization.

There is a tradition of banning operas in Chinese history.For the power of opera, the rulers of all dynasties are facing a formidable enemy.The reasons are, firstly, once the play is performed, the audiences are crowded, and it is easy to "gather crowds to make troubles, all night long, and bring lawsuits and robbers", which affects social security and even brews social unrest; secondly, opera is too easy to move people's hearts, " To lure men and women close, to attract bandits from afar, to prosper and incite bandits, to corrupt customs" and affect "moral weathering".

The Qing Dynasty was the generation with the strictest ban on operas.In order to prevent the troupe from spoofing certain positive historical figures and affecting their tall image in the hearts of the audience, the imperial court stipulated that no emperors, sages of Confucius and Mencius, and loyal officials and martyrs are allowed to appear on the stage.Because "the statues of emperors, concubines, sages, sages, loyal ministers and martyrs of all dynasties are all respected by officials and people, and they are all used as dramas for drama, which is very disrespectful..." ("Records of Emperor Shizong of Qing Dynasty") "Laws of the Qing Dynasty "It clearly stipulates: "Fanle people are not allowed to dress up the statues of loyal ministers, martyrs, sages and sages of the emperors, queens, concubines, and sages in the past when they move to Zaju dramas. There is no limit to those who are righteous, respectful, filial, obedient to their sons and grandchildren, and persuade others to be good."

In order to prevent turmoil, the Qing Dynasty stipulated that performances are not allowed in places where people gather, such as god-welcoming games and temple fairs.In order to implement the spirit of mourning that must be exhausted in funerals advocated by Confucius, the Qing government stipulated that no dramas should be performed at funerals.In order to prevent the Eight Banners Manchuria and professional soldiers from being weak-willed because of watching theatre, it was also stipulated that bannermen and soldiers were not allowed to watch theatre.In order to prevent the mixing of men and women and moral corruption, it is stipulated that women are not allowed to go to the theater... The purpose of various prohibition measures is to limit the influence of this new form of entertainment to a minimum.

The talented and generous Emperor Qianlong had a very different approach to opera work than his predecessors. As a veteran theater fan, the emperor knew very well that it was extremely unwise to ban theaters indiscriminately. The power of "forbidden" is limited, and sometimes it will even lead to "reverse consumption".The more banned you are, the more people want to watch it.The banned operas in the Yuan, Ming, and Shun, Kang, and Yong Dynasties were basically mere formalities in the end. The emperor believes that everything has two sides.A form of entertainment, since it can "pollute the mind", can also "purify the mind".The rulers of all dynasties have a great misunderstanding, that is, they only see the "immoral" side of opera, but fail to see its power in "positive education".Opera is actually the best way to educate the lower class people.Many times, when you organize the masses to study the oracle, what you get in return is often rebellious emotions, and watching a play is thousands of times more efficient than boring study and preaching. "When performing a play, I see filial sons and brothers, loyal ministers and righteous men, intense sorrow, homelessness and adversity. Although women are shepherds, they often shed tears and can't help themselves. Looking around, they are all the same. This is the most sincere and swiftest. , compared to the old students supporting the monks, preaching the scriptures, and the old monk sitting on the throne and preaching the Dharma, which is more effective." Those dramas that promote loyalty to the emperor and filial piety have contributed a lot to the ideological construction of the empire.

Therefore, the thinking of opera work in Qianlong Dynasty was more clever than that of previous dynasties.Qianlong shifted the focus of banned operas from banned locations, banned scales, and banned time to censored, modified, and banned performances.By providing high-quality spiritual products for the common people, we can integrate prohibition into evolution, turn disadvantages into benefits, and turn tangibles into intangibles. Emperor Qianlong's grasp of opera has three aspects, one is prohibition, the other is modification, and the third is creation. When the work of banning books goes deep to a certain extent, it will inevitably involve a large number of scripts.In the process of reviewing banned books, Qianlong noticed a series of playbooks with "violating" content.Some involve political issues and ethnic issues, "such as the events at the beginning of the Ming Dynasty, related to the words and sentences related to this dynasty", and some scripts are full of the words "Hu" and "Captive", which vilify ethnic minorities.Some scripts are yellow and obscene, which is not conducive to weathering.Some scripts promote murder and violence, and the style is not high. "Hugging grass and beating rabbits", combined with the work of banning books, the emperor asked officials from all over the country to strictly review folk scripts.

In the 40th year of Qianlong (1775), when Qianlong was examining the banned books submitted to Beijing from various places, he discovered a script called "Legend of Happy Spring", which "contains illegal words and sentences".As for how "lawless", there is no clear record in historical records, and it is estimated that there is something like scolding "Yi Di".The emperor attached great importance to it, and made a special decree: "Yesterday I inspected the books that should be destroyed by the provinces... I found a copy of "Legend of Happy Spring", and there were also illegal words... I passed it on to Gao Jin, Sa Zai, Yu Jiangning, The two places in Suzhou will find out all the paper copies and plates and hand them over.” With one order, all versions of this script were destroyed.This was the beginning of Qianlong's prohibition and destruction of operas.

In the forty-fifth year of Qianlong (1780), Qianlong officially announced the start of a nationwide campaign to clean up bad scripts.On November 11th, 45th year, the emperor issued an edict, requiring the provinces to shift the staged focus of the ban on books to the script: "The former ordered the provinces to confiscate the strength of the books that violated the words and sentences, and destroy them in Beijing. According to the current Governors and governors of various provinces have successively learned many of them. Because of thinking about performing operas, there may not be no violations in the book, such as the events of the Ming Dynasty and the beginning of the country, and the words and sentences related to this dynasty should be investigated as a whole." On November 28, Emperor Qianlong once again emphasized the importance of reviewing scripts, and the edict required very detailed, "In addition to Kunqiang, there are Shipai, Qin, Yiyang, Chu, Jiang, Guang, Fujian , Zhejiang, Sichuan, Yunnan, Guizhou and other provinces are all prevalent, please order the governors to investigate and deal with it." About 300 dramas were banned in the Qianlong Dynasty, which can be roughly divided into the following categories: one is dramas with national sentiments and political violations; the other is love dramas of gifted scholars and beautiful women; Among the dramas that reflect the political struggle in the court, the fifth is the drama with murderous and violent content.Among the banned plays, the most famous ones include Wang Shizhen's "Ming Feng Ji", Li Yu's "Legend of Li Weng", Hong Sheng's, Kong Shangren's, Wang Shifu's, and Tang Xianzu's. Yu Zhi of the Qing Dynasty recorded a "Yihuatang Treaty" in "Deyilu", which was a treaty in the opera circle at that time. Some of the clauses explained why these operas were banned: Why ban waiting games?People in recent times often think that these dramas are nothing more than romantic affairs between talented scholars and beautiful ladies, and they are not pornographic and obscene.But it is full of flirting plots between men and women, and its flirtatious looks are enough to inspire bad thoughts in underage audiences and poison their hearts, so it should be banned: "In dramas such as "The Story of the Jade Hairpin", people in recent times often think that wits and beautiful women are in love with each other. There is a difference in pornographic plays, I don’t know what kind of mood is flirting and entertaining; the way his eyebrows are moving and eyeing is enough to make young people lose their souls and secretly arouse their hearts, which is the worst kind of obscenity.” The reasons for banning Water Margin dramas are even more sufficient. "Water Margin" was originally an "evil book" that advocated the rationality of rebellion. Song Jiang and others were gangster organizations that started from robbery, while Zhujiazhuang and other militia groups were righteous people who maintained social order, but "Water Margin" judged it upside down: "The book "Water Margin"...such as Zhujiazhuang, Caijiazhuang and other places, are all group-trained righteous people. Those who want to gather people to rise up and wipe out the robbers in order to ask the heavens will be defeated by the same generation, and the audience The anti-books called Song Jiang and others brave, and did not hear Wei Zhu, Cai and other Zhuang's regrets, hey, the world is at this point, the law is ruined, and the parties involved are all indifferent to each other. No one has cared about it for thousands of years, which is a pity .” So, why are court political dramas not allowed?This twist and turn also needs to be explained carefully.Because in these plays, the emperor is often played very mentally.These emperors are all licentious and innocent, doting on the West Palace, listening to slander, and killing loyal officials unjustly.If these operas are performed for the emperor in the court, they can serve as a positive warning to the ruler to vaccinate.But what's the use of showing mud legs in the countryside?Not only useless, but harmful.Because playing the emperor so incompetent can only make the common people despise the dignity of the dynasty.In particular, there are scenes where some loyal ministers set up troops to "kill officials, rob prisons, and rob courts", which are more likely to arouse their impulse to commit the following crimes: "In the stories of the Han and Tang Dynasties, there are dramas such as soldiers robbing the emperor, and the master even believes Slandering, subduing and killing ministers, recruiting grassroots bandits at every turn, besieging the imperial city, turning inward and introverted, who must coerce his ruler, kill his enemies to vent his anger. Satire the Lord, there is nothing wrong with it, if it is performed in the wild, the king's prestige will be replaced and the chaos will start from here. It also kills officials, such as robbing prisons and robbing the court. What he did was that he dared to act in a dignified manner, inspired the villain to flout the law, and started the treachery to conspire against him. Although everyone who watched it praised it, but the traitors in modern times wantonly seek alliances and form cliques, and make troubles by relying on the crowd. , the reason is mostly due to this.” And some plays that describe how treacherous officials wreak havoc on the government and the country are not allowed to be performed.These dramas often play the traitorous officials so ugly, evil, and bottomless that people today think that compared with him, I am ten times better than him, so they relax their sense of urgency for self-reform: "The treacherous minister is a rebellious son, the old man The drama often describes it too much. Out of reason, there are treacherous ministers and rebellious sons in the world. But looking at this, they are lenient, saying that the crimes of this generation are too much. I am not very good, but I am ten times better than him. Although he wants to be an example to the world but has no one to be an example to others, what is the difference between a person who claims to have a strange prescription but does not have the right symptom, even if he takes thousands of doses, it will not work.” Another focus of the ban on dramas in the Qianlong Dynasty was martial arts and the content involved in the case.In the third year of Qianlong's reign (1738), Wang Jun, the admiral of the Fujian Navy, said in a report that some local operas were interspersed with exciting scenes such as martial arts and murder to attract the audience.As a result, some people scrambled to imitate the "adverse consequences" of "introducing similar friends into the theater, competing for fun, and fighting fiercely". Especially young people have strong acceptance but poor discrimination, so it is easy to dance The knife is sticking and going on an evil path, so please order the imperial court to ban the play in order to improve the customs and calm the place.The imperial court agreed with Wang Jun's opinion, thinking that these dramas are easy to provoke and become evil, to lure the people into evil, and to deceive people.And those who are keen to watch these dramas are not kind people. "If a husband plays fiercely and closes his eyes, such as breaking the intestines, dismembering and bleeding, etc., all those who follow the good and cowardly will look back and look at them. If you want to try it, this person is either a hooligan or a bandit, otherwise the uneducated children are accustomed to fighting fiercely, and they will also fall into the low class, this is the evil tricks of the vicious show." Therefore, the imperial court ordered that the reproduction of such violent murders be prohibited. The bloody scene of a mother killing her son in "Killing Son News", the bloody vomiting in "Cut the Son", Luo Tong's martyrdom battle, Zhang Shun's dancing with knives and forks, all these bloody scenes are forbidden to appear in front of the audience. Emperor Qianlong was not the first person to ban dramas, but he was the initiator of the "drama reform". In the work of reviewing the script, the emperor discovered a serious problem.Our ancestors have left us many well-known classic plays.Unfortunately, measured by the strict censorship standards of the Qianlong Dynasty, almost all of them have "violations".If all performances are banned, then there will be nothing to do on the stage of the prosperous age. The emperor believed that those dramas with basically positive content should not be banned simply and rudely, but should be partially modified to extract the essence and discard the dross, so that they can better serve the stage of prosperous literature and art. In the forty-fifth year of Qianlong (1780), the emperor mentioned this issue for the first time in the edict of banning opera: "As far as the Southern Song and Jin dynasties were concerned with lyrics and music, external scripts were often over-acted to the point of inaccuracy. It has been passed down for a long time. , ignorant people may turn to think that the script is true, it has nothing to do with it, and they should be checked together. These scripts are probably gathered in Su, Yang, etc., and they are written to tell Yiling'a and Quande to check carefully. Those who should be deleted, edited and drawn should be handled properly, and the original and deleted and drawn articles will be found out, and they will be signed and submitted to Beijing." It means that many dramas involving the content of the Southern Song and Jin dynasties, although the main purpose is to commend loyalty, but they vilify Jin people and other ethnic minorities too much, so they need to be revised.For the first time in Chinese history, the emperor established a script review system, requiring local officials to review the collected scripts in detail for any changes that need to be made, and report to the emperor, who will make a decision in person.The emperor organized a group of experts and scholars to revise the violations and inappropriate parts of these operas one by one. The work of drama reform is carried out according to three principles: 1. The thoughts and feelings are right, that is, to support and love the Qing Dynasty, and there should be no discrimination or slander for ethnic minorities; 2. The basic plot is right, and the identities and relationships of the characters should be Lunci, the performance should be convincing and not overly exaggerated; third, the atmosphere of the times is right, and the costumes of the dynasty should not be used indiscriminately, and the vulgar and vulgar phenomenon of actors in terms of dress, language, and overall style must be resolutely corrected. Gui Yazheng", from libretto, accompaniment, martial arts tricks, body dressing, reciting lines, to gongs, drums, and props, have been repeatedly deliberated and revised under the personal guidance of the emperor, and "reactionary", "vulgar" and "absurd" have been removed. Unreasonable" part, raised and purified, reborn. A short story in Unofficial History vividly expresses the emperor's requirements and attitude towards the transformation work. "Qing Barnyard Banknotes" contains: "During the southern tour, Kunling Moujing was famous in Jiangsu and Zhejiang for flattery. Just at the beginning, he was ordered to perform the play "Xunzi". The sentence is all written as "then the world is desolate during this period", knowing that you can't invite Chen to listen to it, so I changed it to "then during the period when Chu and Han contend for strength", which is actually better than the original. Gaozong Da praised it and rewarded it." In order to meet the needs of the prosperous age, in addition to banning and reforming, the Qianlong Dynasty also created many new repertoires. According to the principle of "introducing the old and bringing forth the new", the emperor actively supported key creations and strongly encouraged the emergence of new scripts. The emperor personally organized a very high-level opera creation team.This team was named by Prince Zhuang himself, led by Zhang Zhao, Shangshu of the Ministry of Punishment, and many courtiers with literary and artistic talents personally participated in the creation. "Xiao Ting Miscellaneous Records" contains: "The Emperor Chun used the peace of the sea, and Zhang Wenmin made the originals of the courts to prepare for the performance of the music club. All festivals were played. The allusions at that time were such as Qu Zi's race, Zi'an's Tige, etc. Everything is included." Under the personal guidance of the emperor, they wrote a series of "big plays", such as "Dingzhi Chunqiu" (the content is the story of the Three Kingdoms) created by Prince Zhuangge himself, "Shengping Baoyu" created by Zhang Zhao. " (the content is the story of Journey to the West), "Loyalty Xuantu" (the story of the Water Margin) created by Zhou Xiangyu, an imperial literati, etc.The themes of the script include both historical stories and magical legends. It is the foundation of this. In addition, all loyal ministers and righteous people who are killed and donate their lives must be married to receive sympathy and become gods; rebellious officials and thieves who commit injustice must be married to be punished and the law of the country should be rectified." The emperor put forward extremely important opinions on the content of the script, singing, acting skills, tunes, costumes, facial makeup, and props.The court dramas of the Qianlong Dynasty are characterized by their grand scale and extraordinary style.Most of them are ten books and two hundred and forty plays, with many characters and magnificent momentum. If some plays are performed from beginning to end, it will take ten days, which is indeed a "big play".There are poems to prove this. After watching the court drama, the North Korean envoy wrote: "The show will be performed in ten days, and the feast of "Shengping Baoraft" will be over." ("Luanyang Collection") The theme of the play is of course to carry forward the great national traditions of the Chinese nation such as loyalty to the emperor and filial piety. "Ding Zhi Chunqiu" is a story of the Three Kingdoms, which comes down to the unification of the Three Kingdoms and the peace of the world. It promotes that the long-term separation must be united, and the long-term unity must be divided. It is a metaphor that the rule at that time was the destiny of China. The content of "Loyalty Xuantu" is very special, it is a Water Margin drama.Water Margin drama is of course forbidden among the people, but the imperial family seems not to be afraid of pollution.However, the content of the Water Margin drama in the palace has of course been purified and undergone qualitative changes.This drama emphasizes accepting the recruitment and being loyal to the country. As mentioned above, the ideological control in the opera work of the Qianlong Dynasty was more refined and concealed, and the emperor took great pains to carry out many "ideological innovations".However, the development of opera in the Qianlong Dynasty showed a strange trend: both prosperous and barren; both lively and monotonous; The court drama during the Qianlong period was astonishing in scale and incomparably ostentatious.In the sixteenth year of Qianlong (1751), the Empress Dowager’s 60th birthday, the emperor organized an unprecedented lobby meeting for the Empress Dowager in order to show her filial piety: “From Xihuamen to the Gaoliang Bridge outside Xizhimen, each has its own On the ground, set up lanterns, build pavilions...every tens of steps there is a stage, with southern accents and northern accents, preparing for the joy of the four directions", "travelers are like entering Penglai fairy island".On the journey of more than ten miles, there is a stage every few dozen steps, and there are at least hundreds of them. The royal style is different.When Qianlong made his southern tour, officials from all over the country offered their loyalty to him, and the performance was even more astonishing: "When the imperial boat was about to arrive in Zhenjiang, and the distance was still more than ten miles away, looking at the bank of the Yangtze River in the distance, there was a big longevity peach, which was extremely huge, delicate in color, red Cui is lovely. When the Yuzhou is approaching, suddenly there are fireworks, the flames are radiating, the snakes are flying, and it is dazzling. In the midst of people shaking, the giant peach suddenly bursts, and there is a stage. Hundreds of people are performing Shoushan Fuhai Excerpt. This scene is astonishing, as if in a fairyland." The emperor was very good at using opera methods to decorate the times.The government invested a huge sum of money to support the cause of court opera, built the largest and most luxurious palace theater in Chinese history, and produced unprecedented large-scale cuts. "The beauty of the special voice and the beauty of the utensils and clothes will bring joy to the sky, which is not seen in the world." From the stage architecture to the costumes and cuttings, there is a special and unprecedented luxury tendency. All major events , there must be big dramas to add to the fun, fully demonstrating the strength of the country and the scenery of the prosperous age. A civil servant named Zhao Yizhe during the Qianlong period was fortunate enough to watch this large-scale performance at the Summer Resort.He recalled that the scale of this performance was completely beyond the imagination of ordinary people.The stage is as high as three floors and nine rooms wide, with thousands of actors participating.The most special thing is that the stage of the performance is movable, with sophisticated mechanical devices inside, which can complete a variety of three-dimensional actions, and the performance effect is amazing: "The stage is as wide as nine feasts, with three floors. Those from top to bottom, those that protrude from the bottom, even hatchback buildings can be transformed into human habitation, and the courtyard is full of camels and horses... On the day when Xuanzang monk of Tang Dynasty learned Buddhist scriptures from Leiyin Temple, the Tathagata went to the hall, Kasyapa, Arhats, Pizhis, and Shravakas are divided into nine floors, and thousands of people can sit in a row, and there is still more than enough room for the platform.” ("Yave Exposure Miscellaneous Notes") The so-called "top-down, bottom-protruding" means that the ceiling and floor of the lower stage (called "shoutai") are movable, and machinery is installed to lift actors and mince.The so-called "hatchback building is also used as a residential building" means that the back of Shoutai is a double-layered platform, and the upper floor is called "Xianlou".There are many wooden ladders in the Xianlou, which lead down to the performance area in front of Shoutai, and up to the middle stage (called "Lutai") and the upper stage (called "Futai").The complexity of the performance scenes and the grand scale can be described as the pinnacle, and the audience will undoubtedly be shocked and infected by the momentum and atmosphere of the performance.In the history of China, no emperor presided over such an astonishingly large-scale drama in the Qianlong era. The favor and promotion of the royal family, as well as the huge amount of money invested, greatly promoted the prosperity of court opera and the development of folk opera.During the Qianlong period, many major events occurred in the history of Chinese opera, such as the entry of Hui troupes to Beijing, the sudden emergence of Gaoqiang opera, and the prosperity of Kunqu opera.At the end of the Qianlong Dynasty, Kunqu Opera flourished unprecedentedly, and other dramas flourished like brocade. Emperor Qianlong made a very important contribution to the development of Chinese drama culture. However, on the other hand, another characteristic of Qianlong opera is also very prominent, that is, the content is extremely poor.In palace performances, every sentence has to be scrutinized and checked at various levels, and there are countless taboos.More than 200 court dramas were staged, avoiding real contradictions, outdated ideas, and uniform art. Some people concluded that they were nothing more than "bluffing and embellishing the grace of the pilgrimage, forging the destiny and will, and promoting Taoism and superstition". When folk perform in the palace, the content of the script is more severely suppressed.Therefore, the theme of the performance will always be celebration, joy, peace, and peace;Although both the queen mother and the emperor liked to watch "gag" clown plays, under strict restrictions, the content of these plays could not satirize society or reflect reality, and could only be amusing with blunt and artificial baggage, lacking content and depth. Under the emperor's literature and art policy, the content of operas in the Qianlong Dynasty showed two characteristics: first, the moralization of the content of opera works was dedicated to elaborating the matters of loyalty, filial piety and righteousness.Second, the poetic culture in the style of opera literature.The opera lyrics are becoming more and more elegant, "lack of passion and deep meaning, and most of them are desk works that are off the stage."In addition to the ministers of the DPRK and China, the people of Kusano also tried their best to show their enthusiasm for teaching and teaching for the emperor in their works.In "Six Kinds of New Songs" written by the playwright Xia Lun during the Qianlong period, under each title, the themes of "praising loyalty, explaining filial piety, showing integrity, persuading righteousness, good manners, and redressing hatred" are respectively expressed. The script is full of straightforward slogans And tasteless didacticity, the plot is nothing more than a graphic illustration of these ideas.Tang Ying's "Legend of Gubaitang" has seventeen kinds. Although it was considered an outstanding achievement at the time, none of them actually touched profound social problems. Vivid, the lyrics are not bound by the old rhythm, which is a bit of a saving grace.In addition, the creation of operas in the Qianlong Dynasty was almost nothing. Therefore, the Qianlong era was not only an era of unprecedented prosperity of opera, but also the beginning of its decline.Wu Mei, a modern opera theorist, said: "Yu Chang said that there were operas but no operas above the Qianlong period. During Jiadao, there were operas but no operas. After Xiantong, there were no operas and operas." The spring deliberately created by autocratic rulers will eventually be performed. Turn into harsh winter.