Chapter 16 Chapter 15 Vernacular Classics (1)

15.1 Overview Section 11.2 above has divided vernacular literature into three periods: the first period is before the Tang Dynasty, the second period is from the Tang and Song Dynasties to the Ming and Qing Dynasties, and the third period is the modern period.Strictly speaking, the first issue only has vernacular materials, and has not yet become a classic, because it is caught in the sea of ​​classical Chinese and is in a vassal status.Modern vernacular, from the "May 4th" period, the number of works is not small, but after all, the time is short, and they are all familiar to us, and there are not many things to talk about.Therefore, when talking about vernacular classics, it is mainly the middle paragraph.This period of time is long, there are many tricks, and it is difficult to cover the details, so I can only use examples to introduce some important and common ones.Compared with classical Chinese classics, the number of these common ones seems to be much less. The reason is not necessarily that there are fewer works, but that they have not been paid attention to, and few people keep them, so it is difficult to pass them down.To take a more remote example, there have been many versions of Du's poems in the past dynasties, which have been found in public and private bibliographies, and there are still many preserved to this day; but Bianwen, if there is no Dunhuang Grottoes that have been buried for more than a thousand years, we will not see a single one. .More recently, such as folk songs, Zheng Zhenduo's "History of Chinese Folk Literature" said in Chapter 14: "The six thousand and forty-four kinds of folk songs collected in the "General Catalog of Chinese Folk Songs" edited by Liu Fu and Li Jiarui are all single-published novels. In fact, there are only eleven to one thousand. The author has collected nearly 12,000 songs from various places in the past, which is just a glimpse.” This is a collection by experts, as for ordinary people, even ordinary books Museum, you may not see even one.In short, taking the common as the standard, there are not as many classics in vernacular Chinese as in classical Chinese.The previous chapter said that there is a boundary problem between classical Chinese and vernacular; Section 14.1.2 and

It is said that there are a few works, it seems that it is not appropriate to count the words.This involves the choice of vernacular classics.In my opinion, it should be clear when talking about the boundary between vernacular and vernacular. As for the actual handling, it is appropriate to be lenient, that is, try to count vernacular as possible as vernacular.There are three main meanings or situations in doing so.One is that a small amount of classical Chinese words are mixed in the vernacular. We should tolerate the transgression of classical Chinese, and it is still considered vernacular in general.Second, although there are many elements of classical Chinese, the basic structure is vernacular, so it should still be considered vernacular.The third is that a certain work is too literary, or some parts of a certain work are too literary, but for the former, the category a certain work belongs to, and for the latter, the whole of a certain work should still be considered vernacular.

Another small problem is how to arrange a lot of materials with different properties and times.For the sake of simplicity and clarity, I want to take both the age and nature of the work as the outline.Concurrently, it means that when it can be divided into chronological order, it can be introduced in chronological order; when introducing certain genres, it can also be grouped together, so some works that are later in time may be introduced first.Also, because there are many materials, it is advisable to simplify the complicated ones. The examples given are generally limited to those that have not been mentioned before, and those that are difficult to see or see the samples to understand the situation more clearly.

15.2.1 Preliminary vernacular data Before the Tang Dynasty, vernacular materials in classical Chinese classics can be roughly divided into three categories: one is rumors and proverbs, the other is some vernacular words embedded in classical Chinese works, and the third is early Yuefu poems. Let me talk about the first category of "rumors and proverbs".This includes folk songs, nursery rhymes, proverbs, slang, etc., as already mentioned in Section 13.1.1.Most of this kind of vernacular materials are found in the written records. In the late Qing Dynasty, Du Wenlan collected from various books according to the order of the Siku catalogue, and became a hundred volumes of "Ancient Ballads and Proverbs". .However, the purpose of Du's collection of rumors and proverbs is not to compile vernacular materials, so many of them may not be vernacular, so you must distinguish them when reading.

Let's talk about "some vernacular words sandwiched in classical Chinese works".This is mostly to keep the spoken language as it is, and it comes in two forms: one is fragmentary, as in the books listed above in Chapter 13; and the other is whole paragraphs, as in Section 13.1.2 above It is the complaint that was recorded in Ren Fang's "Zou Tan Liu Zheng".After the Northern and Southern Dynasties, it was naturally not uncommon for classical Chinese works to be mixed with some fragmentary vernacular.There are also occasional quotations in large paragraphs.Such as: (1) On the night of Jun on August 22, since the second watch, Zhang Taiwei sent his servant Qingtong to come and ask Jun to talk.Jun went to Zhang Taiwei's office, ordered Yu Hou to take revenge, and invited Jun to enter the house.On a pavilion to the east of the lotus pond, Zhang Taiwei and a monk He Ze first sat and talked opposite each other with candles lit.When Jun arrived, He Ze didn't even bow to Jun, so he got up and sneaked into the dark place under the shadow of the lamp.Jun sang in front of Zhang Taiwei.While sitting, Zhang Taiwei remained silent.After a long time, he asked, "You go to bed early, so can you sleep?" Jun said: "What's wrong with Taiwei?" Zhang Taiwei said: "You don't know that your husband can do it." Go out, where are you going?" Zhang Taiwei said, "You get Quzhou and Wuzhou." Jun said, "Since you have Quzhou, you will be fine. What troubles?" Zhang Taiwei said, "I'm afraid there will be future life." Jun said: "Yes How about future life?" Zhang Taiwei said: "You don't care about it. I have been with my husband since we were young, and the court will doubt me.

... (Wang Mingqing's "Wai Chen Lu Yu Hua", Volume 2 "Wang Jun's Shou Yue Hou Zhuan") (2) Now you go back to find a teacher and ask a friend, but if there is a person with insight, the teacher will ask him.If you learn well, everyone will teach you, and you will be noble without being an official.Every father of yours is a man of ambition, he speaks the right words, and everyone listens to him.At that time, I settled down with me, and to this day, my descendants enjoy the infinite world, and your Laozi's descendants enjoy infinite honors.A man learned from his family and learned to be like his father. To be a human being, don't want to live a lifetime in a crooked way.Every time you take advantage of me here, you kowtow every year, and you still come to rest every year.Every one of you is young, so don't go to Huajieliu City.Your father is a scholar and a good man, don't want to learn from such naughty and naughty people. (Liu Ji's "Collected Works of Chengyibo" Volume 1 "Records of Envoy Liu Zhongjing, the second son of Chengyibo's Pavilion", records Ming Taizu's language)

(3) Li Si's wife, Fan's Zhaoyun: (Hongwu) In September of the eighth year, Li Si went home and said: "I got up early to have a drink with Wang Chengxiang and Tai Shige in the board room of Hu Chengxiang's house, discussing rebellion, and I followed suit. Let him go." Fan scolded Li Si: "You are angry! Why do you follow him?" Li Si said: "My brother has followed, why don't I follow him?" Honor guard Zhao Zhugou Zhaoyun: (Hongwu) In June of the sixteenth year, the grand master invited the Marquis of Yan'an to drink.The Marquis of Yan'an said: "We are all guilty people, and we should walk carefully before the superior." The grand master said: "I must be careful every time. If I am annoyed by the superior, I will look for Hu party affairs again, for fear of hurting other princes." Every." In May of the seventeenth year, the grand master said: "The superior is looking for the Hu party again, what should I do?" Ji'an Hou said: "The superior does not seek me, but let him go." (Qian Qianyi's "Beginners" Volume 104 "Taizu Shilu Dialectics IV" examines Li Shanchang's participation in Hu Weiyong's conspiracy)

In the era when classical Chinese prevailed, conversations were generally transformed into classical Chinese through the pens of literati, and those who kept the spoken language as they were were slipping through the net. Let's talk about the third category of "Yuefu Poems".In Section 13.1.1 (5), (6) and (7) above, three poems were cited to show that they were written by Anonymous and came from the folk, which can be regarded as early vernacular.They say folk and early days because they will encounter boundary problems.Section 14.1.2 discusses the situation where the boundary between the vernacular and the vernacular is unclear. Example (7) cited three "Jiangnan Songs" from different periods, explaining that the earlier one is suitable for the vernacular, and the later one is suitable for the classical Chinese.The problem is in the middle.The issue of boundaries has already been discussed, and I will not repeat it here; I just want to add that there are almost no so-called folk works in old literature that have not been polished by literati. "Mulan Poetry" is a good example. Starting from "chirp and chirp, Mulan is a household weaving", they are all written in popular words, but suddenly there are four sentences in the middle, "Walking thousands of miles to the army, Guanshan is like flying." .Shuo qi spreads the gold watchman, and the cold shines on the iron clothes." It has the charm of the metrical poems of the Tang Dynasty.Refinement and increase have already become a fait accompli, we have to tolerate it, that is to say, we must pay more attention to our background, and admit that it is still vernacular with some culture.In this way, like the following, the ancient diction is simple and the imitation is popular, so they can all be regarded as vernacular works.

(5) Green riverside grass, longing for a long way.The distance is unimaginable, and Su Xi dreamed of it.I dreamed that I was by my side, and suddenly felt that I was in a foreign land.There are different counties in other places, and they don't see each other.The withered mulberry knows the sky, and the sea knows the cold.Everyone is charming at the beginning, who is willing to talk to each other?The guest came from afar and left me with two carp.Hu'er cooks carp, and there is a ruler plain book in it.Kneeling to read plain books, what is the book like?The upper word is to add rice, and the lower word is to remember each other. ("Yuefu Poetry Collection, Xianghe Geci, Drinking Horses and a Journey to the Great Wall Caves", Ancient Ci)

Great Wall Grotto, there are many horse bones beside the Great Wall Grotto.Since ancient times, there is no well spring here, Lai De The Qin family built a city and died.Recruiting people to drink horses and worry about not returning, the Great Wall has become a pile of Wangxiang.The hoof tracks are not dry, and people approach them, and the Malay mud will be exhausted afterward.Sleeping on the pillow and waiting for Shuisheng, there is no Yinshan in the front.Horseshoe feet take off their horse heads, who will be named Marquis if the athlete dies in battle? (Ibid, proposed by Wang Jian) (6) The plum blossoms have fallen, and the willow flowers are scattered with the wind.Sigh when I was in the spring, no one wanted to call me. ("Yuefu Poetry Anthology Qing and Shang Song Ci Midnight Spring Songs", ancient Ci)

The willow branches on the street have been blown by the spring breeze.The concubine's heart was broken, and Jun Huai learned about it. (Ibid, proposed by Guo Yuanzhen) 15.2.2 Translations of Buddhist scriptures and others Hu Shi's "History of Vernacular Literature" has only sixteen chapters, but he spends two chapters on "Translated Literature of Buddhism". In addition to saying that the translated scriptures had a great influence on Chinese literature, he also strongly praised the "no embellishment" of the translations of Buddhist scriptures.The so-called no decoration means that there is no need for parallel couplets.He said that this is a new style of writing with a new artistic conception, which is different from "parallel puppet writing that is half-understood and half-unintelligible".This brings us to two questions: one is whether the translated scriptures have completely got rid of the shackles of parallel couples, and the other is whether this new style should be included in the history of vernacular literature.It is difficult to give a definite answer to these two questions, because most of the translated scriptures use four-character sentences, which clearly followed the style of parallel couplets in the Six Dynasties; moreover, even if it is different from the parallel parallel couplets at that time, it is not necessarily vernacular.Example (11) in Section 14.1.2 above quoted Kumarajiva's translation of "The Sutras Said by Vimalakirti", saying that it cannot be separated from the style of classical Chinese.In order to avoid partial generalizations, let’s take the translations of the morning and evening issues as examples. (1) In the past, there was a Fanzhi who was a hundred and twenty years old, who did not marry a wife when he was young, and had no desire for adultery. He lived in a remote mountainous place where there was no one.The king hired him, but he didn't go.In a quiet place of inaction, I have lived in the mountains for thousands of years, entertaining with animals every day.There are four beasts: one fox, two monkeys, three otters, and four rabbits.These four beasts have been listening to the scriptures and precepts of the Taoists for a long time, and they have eaten all the fruits and stalks.The later Taoists intend to make them migrate.The four beasts were very sad and unhappy, and they discussed together: "I will go to search and support the Taoist." The monkeys went to other mountains to fetch sweets and fruits, and the Taoists above wished not to go.The fox also turned into a human to ask for food, and got a bag of rice. The above-mentioned Taoists can give a month's grain, and I would like to stop it.The otter also went into the water again, brought the big fish, and gave the Taoist a month's food, wishing not to go.The rabbit thought to himself: "What should I use to make offerings to the Taoist?" He thought to himself: "I should hold my body to make offerings to my ears." Then he took woodcutters, used natural fire as charcoal, and said to the Taoist: "Today I am a rabbit, the least capable. Please put it into the fire for moxibustion. I will give you a month's food with my body." The rabbit threw himself into the fire, but the fire was not the case.When a Taoist sees a rabbit, he feels his benevolence and righteousness, and mourns for it, so he stops and stays. (Wu Kangseng will translate "Old Miscellaneous Metaphors: Brahma and the Four Beasts") (2) Avalokitesvara Bodhisattva practices deep Prajna Paramita for a long time, sees all five aggregates are empty, and overcomes all hardships.Relic!Form is not different from emptiness, emptiness is not different from form; form is emptiness, emptiness is form;Relic!It is the empty phase of all dharmas, neither born nor destroyed, neither dirty nor clean, neither increasing nor decreasing.It is colorless in the air, no thoughts, no eyes, ears, nose, tongue, body and mind, colorless sound, fragrance and touch.There is no vision, even the unconscious world.There is no ignorance, nor the end of ignorance, nor even old age and death, nor the end of old age and death.There is no suffering to destroy the way, no wisdom and no gain. (Translation of "Prajna Paramita Heart Sutra" by Tang Xuanzang) Example (1) is an early translation. Although the text is mixed with vernacular, the style is indeed lighter. From this point of view, it seems that there is nothing wrong with saying it is vernacular.Example (2) is different, but the literary style is very heavy, and it is too reluctant to be regarded as vernacular. The real translation in vernacular was after the Tang and Song Dynasties.There are two periods worth mentioning: One is the Yuan Dynasty, and the other is the late Qing Dynasty. The rulers of the Yuan Dynasty were Mongolians. They kept records and handled official affairs, and they often used Mongolian characters.When compiled into Chinese classics, they must be translated into Chinese.Perhaps in order to adapt to the style of the original text, it is often translated into vernacular.Such as: (3) The ancestors of the people of the Yuan Dynasty were born with a pale wolf and a pale deer that matched each other. They crossed the water named Teng Jisi together and came to the source of the river named Yuwonan and the mountain named Burhan. lived before.A man was born, and his name was Bata Chihan. ...One day, Duwasuohuo'er and his younger brother Duo Benmi'er went up Mount Burhan. From the mountain, Duwasuohuo'er saw a group of people by the river with Tonggeli's name, and they came along the water.Du Wa Suo Kuo'er said: "There is a black car among the people who got up in the clump, and there is a daughter in front of it who was born well. If you have never married, you can marry your younger brother Duo Benmei'er." I went to see it.Duo Benmei'er went to the crowd of common people to see. The daughter's name was Alan Huo'a. She was born well and never married. (Volume 1 of "Secret History of the Yuan Dynasty") (4) Emperor Xue Chan pitifully saw his grandson, the eldest son of Emperor Yuzong, and my kindness sweetly stabbed his grandfather's roots. He was conferred the title of King of Jin to lead the four great good offices of Emperor Genghis, as well as military horses and Dada land.According to the imperial decree of Emperor Xue Chan, be careful, but if the army and horse people don't choose any activities, and those who follow the righteous way come to the top, within a few years, the people will be able to work in peace.Afterwards, Emperor Wan Zetu taught me to inherit the position, and the great good office entrusted me with it.The big camp that had been entrusted was guarded, and the two elder brothers, Emperor Qulu, Emperor Puyandu, and Emperor Shuodebala, his nephew, were supported.I am tired of the emperor's foundation, do not seek differences, do not seek positions, and do my best with the country according to my duty; every king, brother, brother, and common people all care about it. ("Yuan History Taiding Emperor Ji" Yewei Zhao) The whole book "Secret History of the Yuan Dynasty" is a translated vernacular.There is also "Yuan Dian Zhang", which collected official documents in the early Yuan Dynasty, and all of them are translated vernacular.This kind of vernacular, we feel awkward when we read it now, because it used the vernacular of the time and did not mix simple classical Chinese. In the later years of the Qing Dynasty, more and more people from the West came to China to preach, and the church became more and more powerful, so it was natural to use translation to introduce the so-called Western learning (mainly doctrines).There were quite a few translated books, some in the vernacular (called Mandarin at the time).Such as: (5.) King in Jerusalem, son of David, preacher of words. The Preacher said: Vanity of vanity, vanity of vanity, all is vanity.What is the profit of all a man's toil, even his toil under the sun? One generation goes and another generation comes, but the earth remains forever.The sun rose, and the sun set, and hastened to the place from which it came.The wind blows to the south, then turns to the north, keeps spinning, and turns back, going the same way.All the rivers flow into the sea, but the sea is not full; to the place from which the rivers flow, they return.All things are tiresome, and man cannot speak out, nor can he see enough to see, nor can he hear enough to hear.What has been, will be again, and what has been done will be done again. There is nothing new under the sun. ("Old and New Testaments (commonly known as the "Bible")·Ecclesiastes" Chapter 1) (6) The world is like a wilderness. When I was walking there, I encountered a pit in a place.I fell asleep in the pit and had a dream. I dreamed of a man, very ragged, standing in one place, with his face turned away from his house, a book in his hand, and a heavy burden on his back.He saw him open the book again, and after reading the book, his body trembled, and his eyes were filled with tears. He couldn't stop himself, so he cried out in a mournful voice, "What should I do?" , barely struggling, not to let the wife and children see through.But his misery gradually increased, and he could not bear it any longer, and he sighed to his family, saying, "My wife and my son! You and I are so dear, and now I am burdened with heavy burdens." I am about to die. And I do know that the city we live in will be destroyed by fire from heaven in the future. When we encounter this disaster, both you and I will inevitably perish. We cannot avoid it unless we find a way out in advance, but I don’t know if there is There is no way out." Hearing this, his wife and children were terribly surprised and terrified, not because they took his words as truth, but because they were afraid that he would go crazy. (Volume 1 of the official Chinese version of "The Pilgrim's Progress") This kind of translation of vernacular Chinese and the translation after the Literary Revolution belonged to two periods, because there was still Lin Shu and Yan Fu in between (both translations were in classical Chinese).Although the text is not flexible enough, the original intention is to try to catch up with the spoken language. 15.3.1 Bianwen Bianwen is an important name, because the vernacular documents discovered in Dunhuang, as well as scriptures, poems, Fu, poems, Ci, etc., strictly speaking, cannot be called "Bian" if the content is not miraculous.From the vulgarity here, it is said that these documents are all Bianwen, or mainly Bianwen.Bianwen follows the tradition of Buddhist classics, with talks and songs.The libretto is in the form of poetry, mostly seven characters per sentence.The degree of vernacular in the speeches is inconsistent, and some are not only very literary, but also use duality in large sections, as mentioned in Section 11.1.2 above.It is very literary, so there is the question of whether it should be counted as vernacular, which was also discussed in Section 14.1.2 (12) above.However, after all, Bianwen is intended for ordinary people, and the language must follow the vernacular, that is to say, at least the basic structure must be in the vernacular.In fact, some Bianwen are quite popular, such as: (1) Sit in the main hall of Emperor Han Gao, and move to the front of the hall near Zhang Liang.Zhang Liangmeng ordered to go to the front of the hall.The king of Han said: "On the night of the twenty-fifth day of the previous month, the cavalry general Guan Ying from the royal mausoleum smashed Xiang Yu's camp. There is no news. I plan to send one person to Chu and send him the letter of war. How can anyone send the letter?" Zhang Liangzuo said. "Lu Wan is worthy to send books." The emperor asked: "What tricks does Lu Wan have?" Zhang Liang said: "He asked ten questions and answered ten, ten questions and hundreds of answers, and hundreds of questions and thousands of answers. His heart is like a river, All questions are answered." Hearing the play, the emperor ordered Lu Wan to send him a letter of war.Lu Wan said: "Send the book back and forth, and there is no return. I hope that your majesty will make his war book, and the minister will dare to send it." The emperor has made the war book, sealed it in a box, and distributed it to Lu Wan.After Lu Wan's resignation from the king, she walked out of the military gate, put on horses and saddles, and within ten days, she had to go to the head of the Chu family.You Yi explored and played the Overlord.The overlord heard the play and sent an edict to the front of the tent.Lu Wan was right, after the ceremony of worshiping and dancing, the overlord asked: "All blessings when the lord of the Han Dynasty comes?" He replied: "All the blessings when the lord comes." (2) In the past, there was Mulian's loving mother, named Mrs. Qingti, who lived in the West. Her family was very rich, with countless money and goods, herds of cattle and horses, she was greedy and greedy in the world, and killed many people.Since the death of the husband and the master, it is Shuangju.There is only one son, nicknamed Luo Bu.Although the loving mother is not good, the son is very Taoist, sympathizes with the orphans and the poor, respects the Three Jewels, performs sandalwood alms, sets up a monk's fast every day, and transfers to Mahayana, and stays around day and night.One day, when I wanted to go to business, I went to the front of the hall first, and said to my loving mother: "My son wants to go out of the state, manage money, and serve and respect relatives. All the money in the family is now divided into three parts: one part is going to go now, one part Serve the respected relatives, stay at home for a share, and give to the poor." Hearing this, the mother was deeply satisfied with her feelings, and promised to go to other states to do business for profit. (Ibid. Volume 6 "Mulian Dependent Origin") In this way, according to the principle of conformity, we have to regard Bianwen as vernacular works.Most of the original documents of Bianwen are in Britain and France. Wang Chongmin, Xiang Da, etc. edited "Dunhuang Bianwen Collection" (published by People's Literature Publishing House) contains a lot, you can refer to it. Bianwen was in its heyday in the Tang Dynasty. Although it gradually declined later, its alternate form of speaking and singing had a great influence on the popular literature of later generations. It can almost be said that all genres of popular literature are its variants.Here we first introduce the one that is most closely related to it, which is the "Baojuan".Zheng Zhenduo's "History of Chinese Folk Literature" has a special chapter introducing Baojuan. He believes that Bianwen of the Tang Dynasty, Shuojing of the Song Dynasty and later Baojuan are three forms of a system, so Baojuan is the direct descendant of Bianwen.The earliest treasure scroll seen today is the manuscript "Selling Vacuum Baojuan" between the Song and Yuan Dynasties.There are quite a few biography of Baojuan in the Ming and Qing dynasties, and the content can be divided into two categories: Buddhist and non-Buddhist. For example, "Xiangshan Baojuan" and "Liu Xiangnv Baojuan" are the most powerful works to promote Buddhism.The treasure scrolls are all written in the vernacular, with speeches and songs. Let me take a passage from "Mulian Godmother Leaving Hell and Ascension to Heaven" as an example. (3) The venerable rode the clouds until Lingshan, and prayed to the Tathagata.His Holiness said: "I went to all the hells, my disciple, and I traveled all over, but I didn't have my mother. I saw an iron city, the wall was ten thousand feet high, with thousands of layers of black walls, covered with iron nets. I shouted several times, but no one answered. Disciple I cannot see my mother, so I beseech the World Honored One." The Buddha said, "Your mother is alive, she has committed boundless crimes, and died in Avici Prison." Hearing this, His Holiness was troubled in his heart and burst into tears. The mother fell into the Avici Prison for a long time, When did the iron siege come out? The jade rabbit and the golden rooster are as fast as a shuttle, it's a pity how long the time is!The four illusory bodies are not permanent, don't grind your family fate.Sudden death and suffering, what year will the snare come out?If you want to get rid of the three sufferings, you should read Amitabha early on.Time flies like an arrow, the sun and the moon fly like a shuttle, how many lives are there?Pile gold and jade, how about wealth?Money is too much for Beidou, it is difficult to buy Yama, it is better to cultivate blessings and think of Amitabha. If you do evil in your life, you will fall into a vicious body after death. If you practice good deeds in your life, you will be able to climb the ladder of heaven. The World Honored One said: "Apprentice, don't worry, listen to my words. There is a gate in this prison, and it will not be opened for a long time. Now you put on my cassock, hold my bowl and tin staff, go to the gate of hell, shake tin three times, the prison gate It opens automatically, and the lock falls off. All suffering beings listen to the sound of my tin stick, and they will be at rest for a while." Hearing this, the Venerable Venerable was overjoyed. Forgive you, the snow mountain is so high, The sun shines forever. The World-Honored One said that Mu Lian Hearing, you don't need to be sad now.I bestow you cassocks and tin rods, so that you can display supernatural powers in the nether world.Mu Lian heard that he was very happy, and thanked the Compassionate Buddha World Honored One.Save my mother from being born in the heavenly world, my disciple will never forget his kindness.Throwing into Buddha to save mother has great power, and the vibrating tin stick will fly.There are nine kinds of grace, and the prison is broken.The wind of karma ceases, the sword tree collapses, Abi breathes out suffering, and emits pure light. Holding a gold tin rod and wearing a brocade cassock. Enemies and relatives receive and lead together, and Gao Dengjiupinhua. (Quoted from Chapter 11 of Zheng Zhenduo's "History of Chinese Folk Literature") Exaggeration, complexity, vividness, unrealistic, are all old traditions of Bianwen.In recent years, some people have paid attention to this kind of popular works, and some people have collected them from various sources and compiled them into catalogs.But after all, there are not many people who like to read, so there are no series or selections published. 15.3.2 Song words Section 14.1.2, item (4) above cited Yuefu poems and tunes as examples, saying that some genres oscillate between classical Chinese and vernacular.Swaying means that it cannot all be counted as classical Chinese or vernacular.Here we only talk about tunes and words, and when it is mentioned in vernacular classics, it is obviously mainly considered from the aspect of origin.However, if it is counted as a vernacular work because it comes from Dunhuang, we will encounter a difficult problem, that is, many of the poems are very heavy in classical Chinese. Vernacular, not to mention a small amount of works by Wen Tingyun, Ouyang Jiong and others have been mixed into it.The words are all vernacular, which may be difficult to pass with common sense; and in reality, after the Five Dynasties, there were more and more slow words, especially in the Southern Song Dynasty, the works of Wu Wenying, Zhang Yan, etc., are so beautiful that they cannot be counted as classical Chinese.Considering the system of literary history, words, as a category, are suitable to be counted as classical Chinese.But this genre originally came from the folk, and some of the early works were quite popular, so we have to discuss the facts and count this part as vernacular.This will naturally encounter the problem of demarcation. If it is difficult to determine, we have to admit that there is a middle.At one end of the middle is classical Chinese, and at the other end, even if there are not many, there should be vernacular.Song words like the following can be regarded as vernacular. (1) Make all kinds of wishes before the pillow, and wait for Qingshan to die if you want to rest.The scales and hammers float on the water until the Yellow River dries up completely.In the daytime, the stars appear, and the Big Dipper returns to the south.If you can't rest, you can't rest, and you will see the sun in the third watch. (The first volume of "Dunhuang Music and Ci Collection" "Bodhisattva Man") (2) March and a half when Yanyu crowed, and the smoke dipped in wicker and gold threads.In the original Wuling, there was a fairy'e, carrying a singing fan, and the fragrance was brilliant, leaving a piece of Jiuhuayun.Xiyu's head is full of flowers, and her concubine's eyes are full of tears.If the teardrops are like real pearls, they won't scatter when twisted, and there is no limit, they will be strung on the red thread to meet millions. ("Tian Xianzi", the second volume of "Dunhuang Music and Ci Collection") Some of the early literati can also be counted as vernacular, such as: (3) Egrets fly in front of Xisai Mountain, peach blossoms and mandarin fish are fat in flowing water.Green straw hats, green coir raincoats, no need to return in the slanting wind and drizzle. (Zhang Zhihe "The Fisherman") (4) When a leaf falls and the vermilion leaves are covered, the scenery is bleak at this time.The moon shadow in the painting building is cold, the west wind blows the curtain, and the curtain blows, thinking about the past. ("One Leaf Falls" by Li Cunxu, Emperor Zhuangzong of the Later Tang Dynasty) On the issue of the boundary between prose and vernacular, poetry is much more troublesome than prose classical Chinese, because the prose is strict, and poetry sometimes uses some vernacular elements.For example, in Jin Changxu's poem, "Start up the oriole, don't teach it to cry on the branches", Xin Qiji's words, "I searched for him thousands of times in the crowd, and suddenly looked back, but the man was in a place where the lights were dim." teach" "Li", "he", "suddenly", "that" and "but" are all vernacular.According to the principle of conformity, if the vernacular elements are in the minority, the problem is not big; if the proportion increases, the degree of trouble will increase accordingly.How to deal with it is appropriate, it has already been discussed in Section 14.2.2 above, so I won’t repeat it.What I want to say here is that some poems are written entirely in vernacular. Although the number is not large, we cannot ignore it when we talk about vernacular works. Let’s talk about poetry first. There are not only vernacular poems, but the Tang Dynasty also produced some poems dedicated to vernacular poems.One is Wang Fanzhi in the early Tang Dynasty. His collection of poems has long been lost. In recent years, some fragments have been found in Dunhuang. The two poems are quoted as follows: (5) When Fan Zhi flipped his socks, everyone said it was wrong.It can hurt your eyes at first glance, but don't hide my feet. (6) I have ten mu of land, planted on the south hillside.Four or five green pine trees, two or three nests of mung beans.Hot is bathing in the pool, cool is singing on the shore.Traveling is self-sufficient, who can help me? Afterwards, Han Shan and Shide also quoted two poems as follows: (7) One wife of the boss, rich to come three to five years.In the past, I was poor, but now I laugh at me for having no money.He laughed at me behind, and I laughed at him in front.If you laugh at each other, you will go east to west. ("Han Shanzi Poetry Collection", the next one is the same) (8) There was a scholar Wang who laughed at my lack of poetry.The cloud does not know the waist of a bee, and still does not know the knees of a crane.The flat side is not decompressed, and all words are taken out first.I laugh at you for writing poems, like a blind man chanting the sun. When poets write lyrics, some use elegant language, such as Wu Wenying, and some do not avoid vulgarity, such as Liu Yong. They have not written in vernacular like Wang Fanzhi.The vernacular words that I see now are almost all the games of literati, such as: (9) Depression caused by the scene, lovesickness, and illness.Who is interested first?That misfortune?Dou Dun is less happy and more angry.Close down and ask through voice transmission, you have me, but I have nothing for you.Like acacia peach pits, it's really hateful, there are two people in my heart. (Huang Tingjian's "Valley Ci·Youth Heart") (10) To be seen or not to be seen, to be close or not to be close.May I ask how much pity you have? Puzzled, more than hated.Don't cry, don't bear boredom.Is there any worry in heaven and earth?I know everything about it. (same as above) (11) Thousands of peaks and clouds rise, and the price of a sudden rain shower.How can the scenery produce pictures when the trees are farther away and the sun is setting?Qingqi sells wine, and there is no one else on the other side of the mountain.As long as the mountains and rivers are in the light, nothing happens for a summer.When you wake up drunk in the afternoon, the bamboo doors with pine windows are full of chic.The wild birds are flying, and it is a general leisure time.But blame the white gull, looking at the person, wanting to go down but not down. The old alliances are all there, but the newcomers, why don't you talk? (Xin Qiji's "Jiaxuan Ci: Ugly Nuer is Near") (12) The long night is cold, the quilt is added, and the pillow is moved and moved.I laughed at other people's bottoms, but I was never a fan of the authorities.Now I only hate the shallowness of the cause, and I have never hated Iraq to death.He made arrangements with his subordinates, and the banquet must be over at some point. (Ibid. "Love Embroidered Quilt") The above vernacular poems have humorous meaning.Going one step further from humor to mockery, almost all of them are written in vernacular.There are many such things as notes and secretaries in the old days, and two examples are cited each. (13) (Li Bai) tasted the words, "The prosperity is deep and subtle, five words are not as good as four words, and seven words are extravagant. What's more, you are a comedian in the tone!" Therefore, Du said in the opera: "When you meet Du Fu on the top of the rice mountain, the head Wearing a hat on the day of Zhuowu. Excuse me, don't come too thin, always suffering from writing poems in the past." Gai ridiculed his restraint. (Meng Qi's "Poetry of Competence · Gao Yi") (14) At the end of Xiantong, Ma Taisheng, the servant of the ruling disease, asked Jinshi Juren to ride a donkey.Zheng Guangye's material is magnificent, or he said mockingly: "This year, I will ride donkeys all the time, and the short bridle will fill the nine lanes in autumn. A thin and thin man can still be a man, so he will kill Zheng Changtu in his sorrow." (Wang Dingbao's "Tang Yuyan" Volume 12 "Frivolous") (15) In the first year of Zhenghe, Shangshu Cai Yi was a tribute, and he was especially strict with the book.Sometimes there is a market word called "Serving the Fragrant Golden Boy", which is popular. Juren added and changed fifteen characters because of this word, and wrote the word "Huai Xie": "Happy leaves and leaves, touch the bosom with your hands. I really hate to write a title. Clashing with each other, the courtier couldn't live a life. He was just busy, and his eyes were mottled. The cold sweat in my body is as thin as a cloud, worse than when I was young.Waiting for inspection and still wanting to speed up, I'm afraid someone will find the root cause. (Hu Zai's "Tiaoxi Yuyin Conghua" Volume 39, the second volume quoted "Shangitchlu") (16) Funny jokes are added to make ridicule, which is in line with the meaning of "good jokes and not cruelty" in "Poetry".Chen Ye Rihua compiled it into a Zhizhi to show you, because those who can be written and old news can be passed on, and recorded here. ... "Shuifan" word cloud: "Shuifan is an evil enemy, some water ginger melon. Zunqian was about to drink Liuxia, but was stopped by Yilaigang, so boring. I can't help crawling with a spoon, like swallowing sand. Master If you want to be praised by others, don't hesitate to add three or five lamps to make it even better." (Hong Mai's "Yi Jian San Zhi" Volume 7 Chapter "Lang Taosha" lyrics) In addition, the poems in the opening volume of novels in the Huaben system are often written in vernacular.Such as: Nothing is forced by heaven, so why bother to use tactics.It is often enough to eat three meals a day, and you can reap the rewards if you have a smooth sail.When will the trouble happen, and when will it hurt everyone?Enemies should be resolved rather than knotted, each looking back. ( Volume 20) The big rivers and mountains, the big sky, thousands of years and thousands of years.The predecessors have passed and the descendants will continue. How many men are sages? (First time) There are many divergent paths in life from north to south, and generals and gods have to do it for mortals.The rise and fall of a hundred generations, the dynasty and the evening, the river wind blows down the trees of the previous dynasty.There is no proof of fame and wealth, and I spend all my time, always mistaking the time.Three cups of turbid wine get intoxicated, where does the water flow and the flowers wither? (The first chapter "Butterfly Love Flower") I don't know how to talk, and I don't like to talk about words.Blindly spraying maggots, and making troubles in front of people.Fart, fart, really unreasonable! (First time) Poetry is based on persistence, which cannot be seen through; like the above, everything is seen through, so even if someone finds it interesting, it is a heretic. All the vernacular poems in the above situations are just a few weeds in the flower garden in the eyes of "elegant" people. Although they also occupy a place, their sound value is not high. 15.3.3 Quotations Quotations, which means the copying of spoken language, are naturally vernacular.Most in Tang and Song Dynasties.It can be divided into two categories: Zen monks belong to the first category, who use machine learning to teach and then learn to seek epiphany, which is more advanced in the times; Neo Confucianists belong to the first category, who learn the methods of Zen monks to teach nature and fate, and the times are later.Because of the different nature of theories, the content of the language is also different: the former is blurred and weird, while the latter is detailed and mysterious.But they used the vernacular of the time.The previous example (2) in Section 2.2.2 is a Zen quotation, the example (4) in Section 13.1.2 is also a Zen quotation, and the example (5) (6) is a Song-Ming Neo Confucianist quotation, so I won’t repeat it here .Quotations are important vernacular documents in the Middle Ages, because not only the language is pure, but also there are many materials.Famous monks of Zen almost all have their quotations handed down in engraved editions.There are also some compilations, the important and common ones are the 30 volumes of "Jingde Biography of Lantern Records" compiled by Song Daoyuan, and the 20 volumes of "Five Lanterns Huiyuan" compiled by Song Puji.The quotations of Neo-Confucians can be found in personal anthologies.There are 100 volumes of "Song and Yuan Xuean" edited by Huang Zongxi and others in Qing Dynasty, and 62 volumes of "Ming Confucianism An" edited by Huang Zongxi.It's just that these works are too specialized in nature, and people who don't study the history of thought or the history of Chinese will not be interested in reading them. 15.3.4 Storybook Starting from this section, four consecutive sections introduce the central part of the second period of vernacular classics: novels, various playing and singing works and operas.Strictly speaking, Huaben and Zhanghui novels are a system, but because of the difference in length, they are divided into two sections according to past habits.Saying that these are the central part of vernacular classics has two meanings: one is the large number.To put it more figuratively, if the addition of these three categories (of course refers to what we can usually see), maybe a medium-sized bookcase can accommodate them. As for these three categories, it takes several rooms.The second is the closest relationship with the majority.No matter how old-fashioned a person is, he has never been to a theater or a theater, or heard or read novels; on the contrary, not only have they all been close, but many have become fans of theaters and novels.These so-called vulgar literature works in the past are divided into three categories according to their different main modes of action: novels are "talking", playing and singing works are "singing", and operas are "acting".Naturally, if it is written in a book, it can also be "read".Of these three categories, the first two are closely related, because first, they are all narrative, that is, what the speaker and singer say and sing is the business of others; second, and many of them are both speaking and singing.The third category is the endorsement body. Although it is also speaking and singing when it comes to the stage, what it does is its own business. The main works for "telling" are novels.The early novels were called "Hua", meaning stories.Stories written in books can still be called words. For example, in the Dunhuang literature, there is "Lushan Yuangong Talk", which tells the story of Huiyuan, an eminent monk in the Southern Dynasties.Since the Song and Yuan Dynasties, this kind of novels have inherited the tradition of Bianwen, alternating prose and poetry; as for the title, it can be "Poetry Talk", such as "Poetry Talk on the Tripitaka of the Tang Dynasty", or "Cihua", such as "Denghua Granny" "Ci Hua" can also be "Ping Hua", such as "Newly Edited Five Dynasties Shi Ping Hua", more often only marked the title of the story without indicating the nature of the book, such as "Nianyu Guanyin, "Contract Text Records", "Xuanhe of the Great Song Dynasty" Legacy" and so on. These novels are not very long in length and are generally not divided into chapters. Because they were originally scripts for speakers, they are collectively called Huaben (in terms of length, they are equivalent to short stories today).The scriptures in the Song and Yuan Dynasties were the product of cooperation between what the performers said and what the literati wrote (it was inevitable to revise), so there is no author's name.This is a veritable storybook.从明朝后期起，有不少文人喜欢这种讲故事的形式，或者利用旧料，或者新找题材，也写这种形式的小说。这不是从伎艺人的口中来，写成，也许只有人看而没有人说，是“拟话本”。 名副其实的话本，宋元时期一定很多，因为，如《东京梦华录》《梦粱录》一类书所记，有那么多伎艺人靠讲说吃饭，当然不能不有大量的话本供使用。只是可惜，绝大部分连名字也没有传下来。幸而留下名字的，如孙楷第先生《中国通俗小说书目》卷一“宋元部”所记，也是十不存一。能见到并且比较重要的是以下几种：《新编五代史平话》，梁、唐、晋、汉、周各上下两卷；《大宋宣和遗事》，元亨利贞四集；《新刊全相平话》，武王伐纣、乐毅图齐等共五种；《大唐三藏取经诗话》，上中下三卷；《京本通俗小说》，只存第十卷至第十六卷共七篇；《清平山堂话本》十五篇，今印本并收《雨窗集》五篇，《欹枕集》七篇，有残缺。 拟话本时代晚，失散的机会比较少，所以传世的还相当多。这里只能举少数有名的。占首位的是大家都熟悉的“三言二拍”和它的选要本。三言包括四十卷四十篇（四十卷本同于《古今小说》），四十卷四十篇，四十卷四十篇，都是明冯梦龙纂辑；二拍包括《拍案惊奇》四十卷四十篇，三十九卷三十九篇，附一卷一篇，绝大多数是明凌濛初自作；四十卷四十篇（选自三言二拍），题姑苏抱瓮老人辑。此外还有《石点头》十四卷十四篇，题天然痴叟著；《醉醒石》十五回，题东鲁古狂生编辑；《西湖二集》（一集佚）三十四卷三十四篇，明周楫撰；《西湖佳话》十六卷十六篇，题古吴墨浪子搜辑；《十二楼》十二卷十二篇，清李渔撰；《豆棚闲话》十二卷十二则，清无名氏撰。 以上这些作品都放在话本一堆，是取某大同。其实是同中还有异。例如就体制说，都应该是短篇，可是《大宋宣和遗事》字数超过五万；都应该不分章回，可是《大唐三藏取经诗话》分上中下三卷十七节。就语言说，白的程度也不尽同，绝大多数是白而少文；尤其《京本通俗小说》中有一些，用的是相当纯粹的白话。但是也有夹杂一些文言，甚至文多于白的，如： 崇宁元年七月，徽宗除蔡京做右丞相。制下，中外大骇。又赐京坐延和殿。徽宗向蔡京道：“昔神宗创法立制，未尽施行；先帝继之，两遭帘帷变更，国是未定。朕欲上述父兄之志，历观在朝，无可与为治者。今朕相卿，其将何以教我？”蔡京顿首谢：“愿尽死以报陛下。”徽宗尝出玉琖王卮，将示辅臣，道是：“朕此器久已就，只怕人言，故未曾将用。”蔡京回奏：“事苟当于理，多言不足畏也。陛下当享太平之奉，区区玉器，又何畏哉！”帝悦。（《大宋宣和遗事》元集》） 这显然是来自文人的生吞活剥旧史籍，所以远远地离开白话。我们现在研讨白话典籍，应该注意这种情况，以便能够分辨纯驳，取大舍小。 15.3.5章回小说 这一节很难着笔。原因之一是材料太多，孙楷第先生《中国通俗小说书目》“明清讲史部”和“明清小说部乙”收长篇章回小说，现存的还有四百多部，除去一书的不同版本，总不少于三百种。照抄，太繁，也没有必要，因为有不少并没有排印流通，也有不少不值得排印流通。原因之二是，如果只是举要，说明朝有等几种，清朝有等几种，这都是家喻户晓，似乎就用不着再费笔墨。不得已，想参考鲁迅先生，并照顾流通、影响等情况，举一些比较出名的，以当全豹的一斑（次序依《中国通俗小说书目》）。这些是：二十三卷一百零八回，明冯梦龙新编，清蔡元放评点；《三国志演义》六十卷一百二十回，旧题罗贯中撰，清毛宗岗评；二十卷一百回，清褚人获撰；二十卷八十回，清钱彩撰；《三宝太监西洋记通俗演义》二十卷一百回，明罗懋登撰；《扬州梦》十六回，不著撰人；《洪秀全演义》二集二十九回，清黄小配撰；《二十四史通俗演义》二十六卷四十四回，清吕抚撰；《金瓶梅词话》一百回，明兰陵笑笑生撰；《续金瓶梅》十六卷六十四回，清丁耀亢撰；一百二十回（八十回本名），清曹雪芹（霑）撰，高鹗补；《品花宝鉴》六十回，清陈森撰；《花月痕》十六卷，清魏秀仁撰；《青楼梦》六十四回，清俞达撰；六十四回，清韩邦庆撰；《九尾龟》十二集一百九十二回，清张春帆撰；《海上繁华梦》初集三十回，二集三十回，后集四十回，清孙家振撰；《玉娇梨小传》（又名《双美奇缘》）四卷二十回，清张匀撰；《平山冷燕》二十回，题荻岸散人编次；四卷十八回，题名教中人编次；《铁花仙史》二十六回，题云封山人编次；《野叟曝言》二十卷一百五十四回，清夏敬渠撰；四十一回，清文康撰；《三遂平妖传》四卷二十回，题罗贯中编次；二十卷一百回，明吴承恩撰；一百回，明人撰；十六回，明董说撰；四十回，清无名氏撰；一百回，明许仲琳撰，一说陆长庚撰；《济公传》十二卷，清无名氏撰；八十回，清李百川撰；二十卷一百回，清李汝珍撰；七十回，旧题施耐庵撰，清金人瑞删定，又一百二十回本名《忠义水浒全传》，题李卓吾评；八卷四十回，明陈忱撰；七十卷七十回，附结子一回，清俞万春撰；《忠义侠义传》（又名，俞樾改订本名）一百二十回，旧题石玉昆述；《忠烈小五义传》（通称）一百二十四回，清无名氏撰；一百二十四回，清无名氏撰；《施公案奇闻》（通称《施公案》）九十七回，清无名氏撰；《永庆升平前传》二十四卷九十七回，清姜振名、哈辅源演说；《永庆升平后传》一百回，清贪梦道人撰；《彭公案》二十三卷一百回，清贪梦道人撰；三集一百八十回，清无名氏撰；《九命奇冤》上中下三卷三十六回，清吴沃尧撰；五十六回，清吴敬梓撰；十回，清张南庄撰；《文明小史》上下二卷六十回，清李宝嘉撰；五编六十回，清李宝嘉撰；八卷一百零八回，清吴沃尧撰；二十卷，续集六卷，清刘鹗撰；三编三十回，清曾朴撰；《醒世姻缘传》一百回，题西周生辑著，有人疑为蒲松龄撰。 像话本一样，这些章回小说，因为时代、地域、作者的不同，语言常常有这样那样的差异。如时代早，白话的格调接近中古，时代近，白话的格调接近现代。地域对语言也有不小的影响，如《金瓶梅词话》夹杂一些山东话，夹杂一些南京话，的对话完全用苏白。因为作者行文习惯不同，有些作品在文白程度方面相差很大，如： （1）那店主人道：“我倒有个主意。客官，你可别想左了。讲我们这些开店的，仗的是天下仕宦行台，那怕你进店来喝壶茶，吃张饼，都是我的财神爷，再没说拿着财神爷往外推的。依我说，难道客官你真个的还等他三更半夜的回来不成？知道弄出个什么事来。莫如趁天气还早，躲了他。等他晚上果然来的时候，我们店里就好合他打饥荒了。你老白想想，我这话是为我是为你？”第五回） （2）（文素臣）是铮铮铁汉，落落奇才，吟遍江山，胸罗星斗。说他不求宦达，却见理如漆雕；说他不会风流，却多情如宋玉。挥毫作赋，则颉颃相如；抵掌谈兵，则伯仲诸葛。力能扛鼎，退然如不胜衣；勇可屠龙，凛然若将陨谷。旁通历数，下视一行；间涉岐黄，肩随仲景。以朋友为性命。奉名教若神明，真是极有血性的真儒，不识炎凉的名士。（《野叟曝言》第一回） 例（1）是用意追口语，所以连“真个（ge）的”“打饥荒（轻声）”一类土语也用上了；例（2）是喜欢诌文，所以典故和对偶就一齐出现。我们点检白话资料，要注意差异的情况，以免不分青红皂白，有一个算一个。 15.3.6弹唱作品 这大致相当于现在所谓曲艺，门类很多，材料更杂。从文献储存方面考虑，可以取其大略，只举诸宫调、弹词和鼓词三种。弹，指有乐器伴奏；乐器主要是弦乐器和鼓。乐器伴奏，唱给人听，是这类作品共有的性质。传世的白话文学作品，有不少是要唱的。如变文，晚唐吉师老有《看蜀女转昭君变》的诗，转通“啭”，可见是用吟唱的方式说王昭君故事，可是未必有乐器伴奏。又如明清的民歌《挂枝儿》《马头调》等等，自然也是要唱的，可是也未必有乐器伴奏，并且未必设场唱给人听。设场，卖钱，既是讲唱作品兴旺的原因，又是兴旺的结果。可是不管如何兴旺，究竟是“俗”而不雅，流通并传世却不很容易，尤其早期的。以下依次说说这三类的情况。 （一）诸宫调。宋元时期很流行，可是传世而完整的只有一种：董解元《西厢记诸宫调》（通称《董西厢》）。另外两种，一是《刘知远诸宫调》，残缺；二是王伯成《天宝遗事诸宫调》，只在曲的选本《雍熙乐府》《太和正音谱》等书里保存一部分唱词。这种体裁名诸宫调，是因为唱词都是依照某宫某调。唱词和讲说交替，仍是继承变文的传统。董解元是金朝人，唱词里保存一些较早期的白话；讲词却是文诌诌的，推想是以唱词为主，讲词是附属品，所以随笔写出。举一个段落为例（格式依原作，低二字的是讲词）。 〔仙吕调〕（乐神令）君瑞心头怒发，忿得来七上八下。烦恼身心怎按纳，诵笃笃地酩子里骂。夫人可来夹衩，刚强与张生说话。道礼数不周休怪呵，教我女儿见哥哥咱。 夫人令红娘，命莺莺出拜尔兄。久之，莺辞以疾。夫人怒曰：“张生保尔之命；不然，尔虏矣。不能报恩以礼，能复嫌疑乎？”又久之，方至。常服悴容，不加新饰，然而颜色动人。 〔黄钟宫〕（出队子）滴滴风流，做为娇更柔，见人无语但回眸。料得娘行不自由，眉上新愁压旧愁。天天闷得人来彀，把深恩都变得仇。比及相面待追依，见了依前还又休，是背面相思对面着。 〔尾〕怪得新来可唧溜，折倒得个脸儿清瘦。瘦即瘦，比旧时越模样儿好否。 当初救难报恩，望佳丽结丝萝；及至免危答贺，教玉容为姊妹。此时张生筵上无话，情怀似醉，偷目觑莺，妍态迥别。（卷二） 诸宫调是叙事体，可是和代言体的戏曲太接近了，所以如《董西厢》，一变就成为王实甫的杂剧（有不少地方照抄《董西厢》）。诸宫调这股水流忽然中断，想来就是因为它被淹没在戏曲的大海里。 （二）弹词。明清两代很流行；尤其到清朝，妇女特别喜欢这种体裁，不只听，而且作，有的篇幅长到上百万以至数百万字，如清代女作家李桂玉所作《榴花梦》，长达五百万字。可是也因为是俗文学作品，保存不易，现在还有的，除明杨慎作的《廿一史弹词》以外，都是清代的。还有，所谓有，是见于著录，如近人胡士莹《弹词宝卷书目》收弹词超过二百种（限于他知道的），可是我们想看看，那就绝大部分找不到，因为没有新印本流通。容易见到的是几部特别出名的，如陶贞怀《天雨花》，邱心如《笔生花》，陈端生，都有新印本。有不少弹词，旧时代在南方很流行，如《玉蜻蜓》《玉钏缘》《珍珠塔》《三笑姻缘》《白蛇传》《再造天》《双珠凤》等都是。清朝晚期，弹词还以各种形式和各种名称在各地流行，如木鱼书、评弹、道情、琴书等，应该说都属于同一个系统。 在用语方面，弹词的文白程度不一样。如偏于文，前面14.1.2节第（六）项例（18）已经谈过。偏于白的也不少，以《天雨花》为例： 因听得相公说道年十二，想着了天保孙儿苦十分。不知拐去如何了，自然不得命残生。婆婆说罢悲啼哭，两泪如泉似雨倾。公子听了方知道，原来内有这般情。 又问婆婆道：“不知那拐子是如何人物，可有人看见否？”婆婆道：“从未有人看见。不见小儿，都在薄暮时候，所以如今人家都不敢将小儿放去镇上顽耍。” 公子遂不去再问，婆婆说罢内中行。公子便对家将 道，那晓村中出歹人。我想你等人二十，个个精通武艺能。何不此地停两日，察访捉拿作恶人。若得与他来除去，也与村中除祸根。众多家将听此语，开言便叫大爷身。知他拐子何人物，对面相逢认不明。搬柩回去多要紧，如何耽搁在乡村。算来这等闲事件，大爷不必管他身。公子听了无言语，少时来了众家人。安排饭食多停当，一齐摆在案中存。服侍大爷来用罢，众人俱各吃完成。便请大爷来上路，公子开言说事因。 “日已过午，能赶多少路程？就在这店中歇了罢。”众人道：“大爷差矣！此时方当下午，还好行三四十里，赶着大店，才歇得多人。这乡村小店如何住得！”维明道：“住不下时，便坐也坐它一夜，值甚大事？我今日不行了，汝等要去，只顾先行。”（第一回） 《天雨花》是著名的弹词之作，所用语言，尤其唱词，要凑韵，难免杂七杂八，其他自郐以下就可想而知了。