Luo Guanzhong is known as the originator of Chinese chapter novels. The characteristic of his chapter novels is that they are divided into chapters and headings. Each story is relatively independent and the paragraphs are neat, but they are connected from beginning to end. connected to form a unified whole. It has been divided into volumes and headings, and the text in the table of contents is also very particular. The earliest edition of "The Romance of the Three Kingdoms" published by Renwu of Jiajing (1522), the title of each chapter is a single sentence of seven characters. The titles of each chapter of "Water Margin" co-authored by him and Shi Naian are already two sentences, roughly parallel. In addition to being divided into chapters and chapters, his chapter novels also retain the system of an opening poem at the beginning and a closing poem at the end in the Song and Yuan scripts. The main text often begins with the word "shuo" and often ends at a critical moment in the development of the plot, with the phrase "if you want to know what happened next, let's listen to the explanation in the next chapter", and there are many poems, songs and poems in the middle to describe the scene. Or character reviews, etc.
While his chapter novels have been institutionally finalized, they have also become increasingly mature in terms of artistic expression. The literary characteristics of his works are mainly reflected in: the process of writing books has transitioned from collective compilation of past dynasties to personal creation; the creative consciousness has changed from borrowing historical romances and allegorical sustenance to facing reality and paying attention to life; the themes of expression have changed from focusing on national events such as the rise, fall, war, etc. to focus on daily life and family trivial matters; the characters described range from extraordinary heroes and weirdos to ordinary civilians; the models created range from highlighting distinctive characters to using multi-colored and dynamic brushstrokes to depict the personality of the characters; the plot structure From a linear flow to a network of intersections; the language of the novel changed from semi-literary to colloquial and dialectal; and so on, it is enough to illustrate the great achievements of Luo Guanzhong's chapter novels in the history of Chinese novels. This also laid a solid foundation for the heyday of vernacular short stories in the middle and late Ming Dynasty and their development into more sophisticated ones.
Luo Guanzhong is a writer who has made special contributions in the history of Chinese literature. He wrote many novels, all with the theme of troubled times. There are only seven divided eras in Chinese history, and Luo Guanzhong wrote three of them. In addition to "The Romance of the Three Kingdoms", it is said that there are also "Zhibiography of the Sui and Tang Dynasties" and "The End of the Tang Dynasty". He also participated in the compilation and creation of "Water Margin". He was also capable of composing music and composing music, and the three dramas that are known to date include "Song Taizu's Meeting of Dragons and Tigers", "Loyal and Dutiful Sons' Continuous Remonstrances", and "San Ping Zhang Dies Crying to Fei Huzi", the latter two of which have been lost. Luo Guanzhong experienced the great social turmoil in the late Yuan Dynasty, witnessed the real disputes, had a better understanding of the people's suffering living situation, and also had an understanding of their ideal pursuit. His motivation for writing novels was, on the one hand, "nothing more than to vent his anger for a while and gain four years of success"; on the other hand, it was also to change the shortcomings that existed in the art of storytelling at that time, and to provide a good and convenient platform for the people and storytelling artists. Talking script. Starting from social and literary needs, he carried out solid new creation work such as collecting, sorting and enriching several story-telling novels that had great influence among the people. The emergence of Luo Guanzhong's works, especially "The Romance of the Three Kingdoms", marks the completion of the transition of ancient Chinese novels from the "script" stage to long chapters, and opens a new page in the history of the development of Chinese novels.
Luo Guanzhong's artistic attainments first benefited from his familiarity with historical materials and in-depth understanding of historical figures. He absorbed the strengths of Chen Shou's "Three Kingdoms", obtained the essence of the folk tale "Shuo Sanfen", and collected hundreds of large and small stories. He knew the names and character traits of hundreds of emperors, generals, and advisors, and even the social relationships, historical destiny, and career successes of many of them. This ability to collect widely, memorize and apply it is the confidence that Luo Guanzhong has to have a panoramic view of a hundred years of history and to gather the changes of the century in his pen.
Conflicts are the most attractive aspect of historical novels. Authors can use it to build momentum, use it to show character actions and advance the storyline. One of Luo Guanzhong's strengths is his ability to create momentum. Create a tense situation and use it as the driving force for conflicts.
Luo Guanzhong is best at writing wars. The hundreds of wars in "The Romance of the Three Kingdoms" are all written with their own characteristics, and none of them is repeated. The Battle of Red Cliff is especially wonderfully written. The first feature of the Battle of Chibi is that the two countries went to war with the participation of three parties; there were a large number of military activities and a large number of diplomatic activities, and the main advisers and generals of the Three Kingdoms period were involved in these activities. The second feature is that the method of advancing and resolving conflicts is based on a battle of wits and strategies, rather than confrontation. A large number of descriptions and narratives in the works are about civil wars rather than military wars.
The third feature is the characteristics of the times. Before the Battle of Chibi, there was a period of melee among many warlords, and the fire of the Battle of Chibi burned half a century of the history of the Three Kingdoms. The fourth feature is the geographical feature. Between Cao Cao and Sun Quan, there is a Yangtze River running across the middle. This Yangtze River hangs high in the sky and connects to the thick earth below. It is almost blue and boundless, and may be foggy or foggy or rough waves crashing on the shore. So both sides of the war made a big fuss around this big river. The changes in the weather of this river always affect the strategies and tactics of both combatants. The fifth feature is that multiple contradictions intersect with each other, including contradictions between the enemy and ourselves, such as Cao Cao's desire to destroy Sun Quan, and contradictions within the allies, such as Zhou Yu's desire to kill Zhuge Liang; there are both overt and covert attacks, collusion, betrayal, and Justice is served, and the conspiracy is shattered. The sixth characteristic is that the results of contradictory struggles are unexpected: the strongest loses and the weakest wins; the one with the most soldiers suffers the worst defeat, and the one with the fewest soldiers gains the most.
Luo Guanzhong's most outstanding achievement is to create typical characters who always shine. These characters have been active on the Chinese stage for hundreds of years and are imprinted in the hearts of the Chinese people.
The twists and turns of the plot and the personalized and concise language are also characteristics of Luo Guanzhong's historical novels.
Edited on 2016-05-09
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50 words of Luo Guanzhong’s literary characteristics
Features: extraordinary narrative talent, panoramic war description, artistic model of characteristic character, simple classical Chinese, refined It is good at shaping characters and can reflect their unique personalities by describing their actions and behaviors. The literary structure is grand and compact, with many characters, complex clues, and complex plots. The language is mixed with classical Chinese and vernacular, which is bright and vivid. It not only absorbs the essence of ancient classical Chinese, but also appropriately popularizes it, so it can be "not very profound in writing, but not very clear in words". "Vulgarity", absorbing the artistic effect of elegance and vulgarity.
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About Luo Guanzhong
Luo Guanzhong (about 1330-about 1400), named Guanzhong, also known as Huhai Sanren , a novelist in the late Yuan and early Ming dynasties, and the author of "The Popular Romance of the Three Kingdoms". A native of Taiyuan Prefecture, Bingzhou, Shanxi Province, he began studying the Four Books and Five Classics in a private school at the age of 7. When he was 14 years old, his mother died of illness, so he dropped out of school and went to Suzhou and Hangzhou to do business with his father. But Luo Guanzhong was not interested in business. With his father's consent, he went to Cixi to study with Zhao Baofeng, a famous scholar at the time. In the 16th year of Emperor Zhizheng of the Yuan Dynasty (1356), Luo Guanzhong said goodbye to Zhao Baofeng. Luo Guanzhong, who "aspired to be king", went to the shogunate of Zhang Shicheng, a peasant uprising army, as a guest. Zhang Shicheng, who rose up to dominate the rebellion, was the hero who destroyed the Yuan Dynasty. In the 23rd year of Zhizheng, Zhang Shicheng saw the decline of the Yuan Dynasty and became king again. Many staff, including Luo Guanzhong, suggested suspending the title of king, but they were not adopted. Liu Liang, Lu Yuan and others left one after another. Luo Guanzhong lost confidence in Zhang Shicheng and returned to his hometown of Taiyuan. While Luo Guanzhong was writing "The Popular Romance of the Three Kingdoms", Shi Naian moved from Suzhou to Xinghua and died in the third year of Hongwu. Extended information on the literary characteristics of Luo Guanzhong Luo Guanzhong is known as the originator of Chinese chapter novels. The characteristics of his chapter novels are chapter narration and chapter headings. Each story is relatively independent and the paragraphs are neat, but they are connected back and forth and connected from beginning to end. , making the whole book a unified whole. It has been divided into volumes and headings, and the text in the table of contents is also very particular. It is also becoming increasingly mature in terms of artistic expression. The literary characteristics of his works are mainly reflected in: the process of writing books has transitioned from collective compilation of past dynasties to personal creation; the creative consciousness has changed from borrowing historical romances and allegorical sustenance to facing reality and paying attention to life; the themes of expression have changed from focusing on national events such as the rise, fall, war, etc. To focus on daily life and family chores.
The characters described range from extraordinary heroes to ordinary civilians; the models created range from highlighting characteristic characters to using multi-colored and dynamic brushstrokes to depict the characters' personalities; the plot structure changes from linear flow to mesh-like. Crossover; the language of the novel changes from semi-literary and semi-literate to colloquial and dialectal. Baidu Encyclopedia - Luo Guanzhong
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Detailed introduction of Luo Guanzhong
Living in Jiangnan Luo Guanzhong Luo Guanzhong (3 photos) Renzong of the Yuan Dynasty During the Yanyou period, Luo Guanzhong's father was a silk merchant. In the middle of the Yuan Dynasty, as the trauma of the war to destroy the Song Dynasty gradually subsided, the economic and cultural focus of society began to shift from the north to the south. Hangzhou, the ancient capital of the Southern Song Dynasty, not only became a prosperous city with a dense population and developed commerce, but also became an important center for the development of drama performances and "speaking" art. Therefore, many northern intellectuals and "calligraphers", such as Guan Hanqing, Zheng Guangzu and others, have moved to the Hangzhou area. As a novelist and playwright, Luo Guanzhong was inevitably affected by this social trend and became one of this type of writers who migrated south. Starting from the age of 7, he studied the Four Books and Five Classics in a private school. When he was 14 years old, his mother died of illness, so he dropped out of school and went to Suzhou and Hangzhou to do business with his father. But Luo Guanzhong was not interested in business. With his father's consent, he went to Cixi to study with Zhao Baofeng, a famous scholar at the time. Luo Guanzhong's nickname is "Huhai Sanren", which means roaming around the world. Around AD 1345-1355, he came to Hangzhou. Many talking artists tell stories here, and some dramatists also work here. Luo Guanzhong made friends with like-minded people. Coupled with his great love for folk literature, when he got here, he naturally didn't want to leave. [2] Aspiring to be a king In the 16th year of Emperor Zhizheng of the Yuan Dynasty (1356), Luo Guanzhong bid farewell to Zhao Baofeng. Luo Guanzhong, who was "aspiring to be a king", went to the shogunate of Zhang Shicheng, a peasant uprising army, as a guest. Zhang Shicheng, who rose up to dominate the rebellion, was the hero who destroyed the Yuan Dynasty. The next year, on the advice of Luo Guanzhong, Zhang Shicheng defeated the attack of Kang Maocai, Zhu Yuanzhang's subordinate. In the same year, Zhang Shicheng's younger brother was defeated and captured by the Yuan Dynasty, and Zhang Shicheng had to surrender. After the Yuan Dynasty, Zhang Shicheng was greedy for pleasure. In the 23rd year of Zhizheng, Zhang Shicheng saw the decline of the Yuan Dynasty and became king again. Many staff, including Luo Guanzhong, suggested suspending the title of king, but they were not adopted. Liu Liang, Lu Yuan and others left one after another. Luo Guanzhong lost confidence in Zhang Shicheng and returned to his hometown of Taiyuan. In September of the 23rd year of Zhizheng (AD 1363), Luo Guanzhong soon left Zhang Shicheng and went north again. In the 26th year of Zhizheng, Luo Guanzhong returned to Hangzhou. "The Popular Romance of the Three Kingdoms" was written after that year. At this time, he was already in his fifties, had a relatively mature view of history and life, and was fully qualified to create "The Popular Romance of the Three Kingdoms". By the third year of Hongwu, Taizu of the Ming Dynasty (AD 1370), Luo Guanzhong had written twelve volumes, and the subsequent volumes were written four years after Hongwu. [2] While Luo Guanzhong was writing "The Popular Romance of the Three Kingdoms", Shi Naian moved from Suzhou to Xinghua and died in the third year of Hongwu. In order to commemorate his master Shi Naian, Luo Guanzhong decided to process and supplement Shi's "Water Margin" after completing "The Popular Romance of the Three Kingdoms" [3]. The book was written between the fourth and tenth years of Hongwu. While processing and supplementing "Water Margin", Luo Guanzhong continued to create a series of historical novels. [2] Writing books with great enthusiasm. At the end of the Yuan Dynasty, the world was in chaos, and heroes rose up. He also participated in it. Wang Qi, a man of the Ming Dynasty, said in "The Collection of Barnyard History" that he was "a man who aspires to be king, but meets God." That is to say, he saw that the world would inevitably fall into Zhu Yuanzhang's hands, so he had no choice but to withdraw from the world. Soon, Luo Guanzhong traveled to the south of the Yangtze River and lived in Jiangsu and Zhejiang. He wrote novels about his ambition as a "King of Pictures" for his hegemony. The attempt to conquer the king failed, so he worked hard to write a book. [2] However, this may just be a legend. Because the "Water Margin Pictures" in Volume 4 of Gu Ling's "Tayingyuan Collection" of the Qing Dynasty records that "Luo Guanzhong came to dominate Zhang Shicheng's mansion", which is inconsistent with the image of "a man who aspires to be a king". Although there are contradictions in these two records, they are enough to show that Luo Guanzhong once wanted to make a difference in the late Yuan Dynasty. "Publishing the history of gods and barnyards" was just a helpless choice after failure in reality. After the establishment of the Ming Dynasty, Zhu Yuanzhang ordered all provinces to conduct trials for three consecutive years in order to consolidate his position. Because he had been an enemy of Zhu Yuanzhang, Luo Guanzhong had to give up the opportunity for a scholar to enter officialdom. In the 14th year of Hongwu's reign in the Ming Dynasty, Luo Guanzhong wrote "The Legend of Sansui Pingyao" (20 chapters). Since then, he has been unable to stop and created such works as "The Romance of the History of the Remaining Tang Dynasty and Five Dynasties" and "The Chronicle of the Sui and Tang Dynasties".
Some experts believe that the early experience of "Aspiring King" and his special state of mind in his later years are the key to Luo Guanzhong's preference for political and historical novels and his artistic success in such novels. One is to use the story of the Three Kingdoms as the theme to write "The Romance of the Three Kingdoms", and the other is to use the story of Liangshan heroes to edit "Water Margin" (the popular saying, for example, "History of Chinese Literature" agrees with Shi Naian Original, edited by Luo Guanzhong and compiled into a book). After Luo Guanzhong finished creating these works, he was already in his sixties. In order to publish these works, he came to Fujian from Hangzhou around the 13th year of Hongwu, because Jianyang in Fujian was one of the centers of the publishing industry at that time. However, this purpose of Luo Guanzhong failed to be realized. Luo Guanzhong's creative talents are multifaceted. He wrote Yuefu lingo and operas, but his main achievements were novels. Regarding his novels, "Remnants of a Tour to the West Lake" states that he "compiled dozens of novels", and it is also said that he wrote "The Romance of Seventeen Histories". The extant works signed by Luo Guanzhong include "Popular Romance of the Three Kingdoms", "Chronicles of the Sui and Tang Dynasties", "The Romance of the End of the Tang Dynasty and the Five Dynasties" and "The Legend of Sansui Pingyao". He also wrote "Water Margin" with Shi Naian 》. Among these works, "The Popular Romance of the Three Kingdoms" has the highest achievement. The whole book uses a grand structure to describe the complex political and military struggles during the Three Kingdoms period, starting with the Yellow Turban Rebellion and ending with the unification of the Western Jin Dynasty. The work denounced the cruelty and ugliness of the rulers, reflected the people's pain and yearning for Qingming politics and benevolent kings in turbulent times, and reflected the clear tendency of "supporting Liu and opposing Cao". "The Popular Romance of the Three Kingdoms" is "not very profound in writing and not very vulgar in language", and its language is concise, bright and vivid. It naturally combines history and literature, has realistic depictions, and is full of romantic legend. The earliest extant edition of Luo Guanzhong's "Popular Romance of the Three Kingdoms" is the Jiajing edition, and the most popular edition is the revised edition by Mao Lun and Mao Zonggang in the Qing Dynasty. In addition to novel creation, Jia Zhongming's "Sequel to the Book of Ghost Records" said that his "Yuefu lingo is extremely refreshing." His existing opera works include the drama "Zhao Taizu's Dragon and Tiger Meeting". The basic idea of ??the drama is similar to that of "The Popular Romance of the Three Kingdoms". It describes the close relationship between the monarch and his ministers, and hopes to end the tragic situation caused by the treacherous heroes' struggle for hegemony through "uprightness of the three cardinal principles and respect for the five constant principles". Around AD 1385-1388, Luo Guanzhong lived for seventy years and died in Luling (now Ji'an, Jiangxi), the hometown of Wen Tianxiang, the national hero of the Song Dynasty. [2] Editing of major works Scripts: "Zhao Taizu's Dragon and Tiger Meeting", "The Loyal and Dutiful Son's Continuous Remonstrance", "San Ping Zhang Dies Crying to the Tiger Son". Novels: "The Chronicles of the Sui and Tang Dynasties", "The Romance of the End of the Tang Dynasty and the Five Dynasties", "The Story of Sansui Pingyao", "Fenzhuanglou", Shi Naian co-authored "Water Margin", "The Romance of the Three Kingdoms" [3], "Zhibiography of Sui and Tang Dynasties" [3]. Literary Characteristics Editor Luo Guanzhong Luo Guanzhong Luo Guanzhong is known as the originator of Chinese chapter novels. The characteristic of his chapter novels is that they are divided into chapters and headings. Each story is relatively independent and the paragraphs are neat, but they are connected back and forth and connected from beginning to end. Make the whole book a unified whole. It has been divided into volumes and headings, and the text in the table of contents is also very particular. The earliest edition of "The Romance of the Three Kingdoms" published by Renwu of Jiajing (1522), the title of each chapter is a single sentence of seven characters. The titles of each chapter of "Water Margin" co-authored by him and Shi Naian are already two sentences, roughly parallel. In addition to being divided into chapters and chapters, his chapter novels also retain the system of an opening poem at the beginning and a closing poem at the end in the Song and Yuan scripts. The main text often begins with the word "shuo" and often ends at a critical moment in the development of the plot, with the phrase "if you want to know what happened next, let's listen to the explanation in the next chapter", and there are many poems, songs and poems in the middle to describe the scene. Or character reviews, etc. While his chapter novels have been institutionally finalized, they are also becoming increasingly mature in terms of artistic expression. The literary characteristics of his works are mainly reflected in: the process of writing books has transitioned from collective compilation of past dynasties to personal creation; the creative consciousness has changed from borrowing historical romances and allegorical sustenance to facing reality and paying attention to life; the themes of expression have changed from focusing on national events such as the rise, fall, war, etc. to focus on daily life and family trivial matters; the characters described range from extraordinary heroes and weirdos to ordinary civilians; the models created range from highlighting distinctive characters to using multi-colored and dynamic brushstrokes to depict the personality of the characters; the plot structure From a linear flow to a network of intersections; the language of the novel changed from semi-literary to colloquial and dialectal; and so on, it is enough to illustrate the great achievements of Luo Guanzhong's chapter novels in the history of Chinese novels. This also laid a solid foundation for the heyday of vernacular short stories in the middle and late Ming Dynasty and their development into more sophisticated ones. [5] Luo Guanzhong is a writer with special contributions in the history of Chinese literature.
He wrote many novels, all with the theme of troubled times. There are only seven divided eras in Chinese history, and Luo Guanzhong wrote three of them. In addition to "The Romance of the Three Kingdoms", it is said that there are also "Zhibiography of the Sui and Tang Dynasties" and "The End of the Tang Dynasty". He also participated in the compilation and creation of "Water Margin". He was also capable of composing music and composing music, and the three dramas that are known to date include "Song Taizu's Dragon and Tiger Meeting", "Loyal and Dutiful Son's Continuous Remonstrance" and "Sanping Zhang Die Crying to Fei Huzi". The latter two have been lost. Luo Guanzhong experienced the great social turmoil in the late Yuan Dynasty, witnessed the real disputes, had a better understanding of the people's suffering living situation, and also had an understanding of their ideal pursuit. His motivation for writing novels was, on the one hand, "nothing more than to vent his anger for a while and gain four years of success"; on the other hand, it was also to change the shortcomings that existed in the art of storytelling at that time, and to provide a good and convenient platform for the people and storytelling artists. Talking script. Starting from social and literary needs, he carried out solid new creation work such as collecting, sorting and enriching several story-telling novels that had great influence among the people. The emergence of Luo Guanzhong's works, especially "The Romance of the Three Kingdoms", marked the completion of the transition of ancient Chinese novels from the "storytelling" stage to long chapters, and opened a new page in the development history of Chinese novels [6]. Luo Guanzhong's artistic attainments first benefited from his familiarity with historical materials and in-depth understanding of historical figures. He absorbed the strengths of Chen Shou's "Three Kingdoms", obtained the essence of the folk tale "Shuo San San", and collected hundreds of large and small stories. He knew the names and character traits of hundreds of emperors, generals, and advisors, and even the social relationships, historical destiny, and official careers of many of them. This skill of collecting widely, memorizing and applying it is the confidence that Luo Guanzhong has to have a panoramic view of a hundred years of history and to gather the changes of the century in his pen. Conflicts are the most attractive aspect of historical novels. Authors can use it to build momentum, use it to show character actions and advance the storyline. One of Luo Guanzhong's strengths is his ability to create momentum. Create a tense situation and use it as the driving force for conflicts. Luo Guanzhong is best at writing wars. The hundreds of wars in "The Romance of the Three Kingdoms" are all written with their own characteristics, and none of them is repeated. The Battle of Red Cliff is especially wonderfully written. The first feature of the Battle of Chibi is that the two countries went to war with the participation of three parties; there were a large number of military activities and a large number of diplomatic activities, and the main advisers and generals of the Three Kingdoms period were involved in these activities. The second feature is that the method of promoting and resolving conflicts is mainly based on wits and strategies, rather than confrontation. A large number of descriptions and narratives in the works are about civil wars rather than military wars. The third feature is the characteristics of the times. Before the Battle of Chibi, there was a period of melee among many warlords, and the fire of the Battle of Chibi burned half a century of the history of the Three Kingdoms. The fourth characteristic is the geographical feature. Between Cao Cao and Sun Quan, there is a Yangtze River running across the middle. This Yangtze River hangs high in the sky and connects to the thick earth below. It is almost blue and boundless, and it may be foggy or foggy or rough waves crashing on the shore. So both sides of the war made a big fuss around this big river. The changes in the weather of this river always affect the strategies and tactics of both combatants. The fifth feature is that multiple contradictions intersect with each other, including contradictions between the enemy and ourselves, such as Cao Cao's desire to destroy Sun Quan, and contradictions within the allies, such as Zhou Yu's desire to kill Zhuge Liang; there are both open guns, hidden arrows, collusion, betrayal, and Justice is served, and the conspiracy is shattered. The sixth characteristic is that the results of contradictory struggles are unexpected: the strongest loses and the weakest wins; the one with the most soldiers suffers the worst defeat, and the one with the fewest soldiers gains the most. [7] Luo Guanzhong's most outstanding achievement is to create typical characters who always shine. These characters have been active on the Chinese stage for hundreds of years and are imprinted in the hearts of the Chinese people. The plot is tortuous and novel, and the language is personalized and concise, which is also a characteristic of Luo Guanzhong's historical novels. [7] Character evaluation editor Modern portrait of Luo Guanzhong Modern portrait of Luo Guanzhong Luo Guanzhong is not only recognized as the author of "The Romance of the Three Kingdoms", one of the earliest chapter-style novels in China and the pioneer of the "historical romance" type, but is also considered to have created the chapter. Among the "hero legends" and "gods and demons novels" types of novels, the authors of "Water Margin" and "The Legend of Sansui Pingyao" all include Luo Guanzhong's statement, while the other major category of "novel about worldly affairs" is derived from adaptations of The "Jin Ping Mei" plot of "Water Margin". From this, it can be considered that Luo Guanzhong alone serves as the originator (or at least one of the originators) of the four main categories of Chinese classical chapter-length novels, and has epoch-making significance for the development of Chinese novels. [8] Some people even call Luo Guanzhong "the king of ancient Chinese novels".
[9] Poster Memorial Editor Shandong Dongping Shandong Dongping Memorial Hall Shandong Dongping Memorial Hall Luo Guanzhong Memorial Hall is located in Luozhuang Village, Dongping County New District, Tai'an City, Shandong Province. It covers an area of ??34,400 square meters and a building area of ??6,700 square meters. It was designed by Qufu Institute of Ancient Architecture and imitated the Ming Dynasty. It is built in the architectural style, with blue bricks, gray tiles, carved beams and painted buildings. The main buildings include Guanzhong Hall, Water Margin Garden, Three Kingdoms Garden, Guanzhong Ju, Luo Garden, Stele Corridor, etc. Outside the memorial hall, there are two archways of Luo Guanzhong's hometown in the north and south. The north archway is carved with stories of the Three Kingdoms, and the south archway is carved with stories of Water Margin. The names of the two archways were inscribed by scholars Feng Qiyong and Ouyang Zhongshi respectively. Both archways are 16.6 meters high and 30 meters wide. The main building of the memorial hall, Guanzhong Hall, is in the palace style of the Ming Dynasty. It has a bronze seated statue of Luo Guanzhong, which is 2.7 meters high and weighs 1 ton. There are couplets on both sides: "The most holy Confucius of Nishan, the great sage Dongyuan Luo Guanzhong". [10] Shanxi Qingxu Mountain Gate Architecture Qingxu Luo Guanzhong Memorial Hall Qingxu Luo Guanzhong Memorial Hall The mountain gate of Luo Guanzhong Memorial Hall is an antique Xieshan style building. There is a pair of blue carved stone lions in front of the door. There is a plaque "Luo Guanzhong Memorial Hall" handwritten by Mr. Feng Qiyong, a contemporary cultural celebrity, hanging on the door. Opposite the square in front of the mountain gate is a magnificent multicolored screen wall with a glazed relief sculpture of a unicorn spitting jade script. When you step into the mountain gate, the first thing you see is the granite sculpture of Luo Guanzhong. Standing four meters tall, he has a solemn and deep expression, his eyes are piercing into the distance, and he is majestic and lifelike. The base of the statue is five meters high and has three layers of white marble railings. There is a pond of clear water on the central axis of the courtyard, with fish playing in it. There is a rainbow jade belt bridge across the blue pond. Eight pairs of stone lions are carved on the white marble railings, with different shapes and spirits, and they are very naive. There are three wing rooms in the east and west of the courtyard. The west wing is the research data center for Luo Guanzhong and "The Romance of the Three Kingdoms" in China. It stores various versions of Luo Guanzhong's works as well as various related books and papers. The east wing is used by the Luo Guanzhong Research Association for office work and reception of guests. It was a place where literati drank tea, played chess, and wrote essays in search of elegance. Editing of Anecdotes and Allusions, Controversy of Birthplace, Ten Records (1) "Remnants of a Tour to the West Lake" says: Luo Guanzhong of Qiantang was a native of the Southern Dynasties, and compiled dozens of novels. (2) "Xu Wen Tong Zhi" says: "Water Margin" Luo Guanzhong chopsticks. Zi Guanzhong, a native of Hangzhou. (3) "Seven Revised Drafts" says: "Three Kingdoms" and "Song Jiang" were compiled by Luo Benguanzhong of Hangzhou. (4) "Three Kingdoms" Wanli Edition, Dongyuan Luo Dao Edition. (5) "The Legend of Sansui Pingyao" Attribution: Dongyuan Luo Guanzhong compiled. (6) "Water Margin Biography and Commentary" Department: Edited by Luo Dao, whose real name is Qingfu, Guanzhong, Zhongyuan. (7) "Water Margin" Department: Zhongyuan Luo Guanzhong, editor. (8) The old edition of "The Complete Biography of the Tang Dynasty" was written by Luo Ben in Luling. (9) "Yinshuwu Shuying" says: "Water Margin" is said to have been written by Luo Guanzhong, a Yue native in the early Hongwu period. (10) "Sequel to the Book of Ghost Records" says: Luo Guanzhong, a native of Taiyuan, was named Huhai Sanren. He was a few people, and his Yuefu lingo was very refreshing. He had been friends with Yu Wei for many years, and had encountered many things, and each of them lived in a different world. When we met again at Zhengjiachen, we had not been together for more than sixty years, but we didn't know where it ended. [12] Five versions of the Romance of the Three Kingdoms The five versions of the Romance of the Three Kingdoms are: Hangzhou, Luling, Zhongyuan, Dongyuan, and Taiyuan. The ones that attracted the most attention were Hangzhou, Dongyuan and Taiyuan. [12] Hangzhou said: The 16th person in the list attached to the "Collected Works of Zhao Baofeng" by Hangzhou local scholar Zhao Baofeng (The Essays of a Disciple's Tribute to Mr. Baofeng) has Luo Ben's name. The people of Hangzhou believed that Luo Ben was Luo Guanzhong. However, Luo Guanzhong had participated in political activities in many places and could not easily identify his official place of origin based on one of them. The Hangzhou theory cannot be established. [12] Dongyuan's story originated from Mr. Yongyuzi (Jiang Daqi) in the sixth year of Hongzhi in the Ming Dynasty. Jiang Daqi believed that the book was obtained in Dongyuan's generation and attributed the author to Dongyuan. Dongyuan said that it is not credible and cannot be established. [12] Taiyuan said that it comes from the anonymous author of "Xulu Guibu". After research, the author is Jia Zhongming. [12] Based on the analysis of Luo Guanzhong’s works found in different places, he has traveled to many places and left footprints in various places, which is one of the reasons why there are many theories about his place of origin. are consistent. At that time, Jia Zhongming proposed "Taiyuan people". Taiyuan covers a large area and is from Nazhou and that county. Jia Zhongming did not propose it. However, six major evidences are found in the family tree, sacred paper, beam-protecting sticks, tombs, inkstones, plaques, etc. found in Hewan Village, where the Luo family is concentrated. It can be explained that Luo Guanzhong was directly under the jurisdiction of Qi County, which was under the jurisdiction of Taiyuan at that time.
[12] and Shi Naian's pseudonym "Shi Naian" At the "International Symposium on Luo Guanzhong and "Three Kingdoms" and "Water Margin" held in Shandong in August 2006, 500 experts from home and abroad generally believed that "Water Margin" "Biography" was a banned book in the early Ming Dynasty, and it was impossible to publish it under his real name. Luo Guanzhong himself was from Dongping, Shandong Province, but Shi Naian could not be traced in historical materials. In this case, the author is most likely publishing under his own name. In the early Ming Dynasty version, Luo Guanzhong was signed alone, and later the joint signatures of Shi Naian and Luo Guanzhong were found. "Shi Nai'an" written backwards means "I'm Nai Shi". Speaking of Shi Nai'an with a Shandong accent, the pronunciation is also "Shi Nai'an". According to the habit of many writers at that time signing their books, "Shi Nai'an - Luo Guanzhong" The subtext is probably "I am Luo Guanzhong." After combining the writing characteristics of "The Romance of the Three Kingdoms" and "Water Margin", some experts believe that these two masterpieces were written by Luo Guanzhong using different methods of collecting works. [13] Master-disciple relationship Ji Lianhai does not agree that "Water Margin" was written by Luo Guanzhong alone. He agrees with the widely circulated theory that "Shi Naian and Luo Guanzhong had a master-disciple relationship." He said that the statement that Shi Naian and Luo Guanzhong had a teacher-student relationship came from books such as "Shi Naian's Epitaph" by Wang Daosheng of Huai'an in the Ming Dynasty and "Shaoshi Shanfang Bi Cong" by Hu Yinglin in the Qing Dynasty. Wang Daosheng said: "Every time a draft is completed, it must be proofread with his disciples. Among Zhenghaiyu, Luo Guanzhong was especially successful." When Hu Yinglin talked about the origin of the creation of "Water Margin", he said that Shi Naian "had Song Zhang Shu to capture the thief at night" After reading the story, I learned about the origins of the 180 people, so it was edited into this compilation by Luo Ben, his disciple. There are not many records, but it can still be verified that Shi Naian and Luo Guanzhong both lived in the late Yuan and early Ming Dynasties. Shi Naian was twenty or thirty years older. They participated in Zhang Shicheng's uprising successively. According to the "Sequel to the Record of Ghost Book", Luo Guanzhong "Yuefu". Linguistic, extremely refreshing. Therefore, many scholars believe that the incorporation of poems in "Water Margin" was mostly done by Luo Guanzhong. As a compiler, Luo Guanzhong also revised "Water Margin", which has some plot similarities with "The Romance of the Three Kingdoms" It is also a normal phenomenon. [13]
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Celebrities’ evaluation of Luo Guanzhong
Luo Guanzhong alone is responsible for Chinese classical music. The originator of the four main categories of long chapter novels, it has epoch-making significance for the development of Chinese novels. His "Romance of the Three Kingdoms" is of epoch-making significance. As for writing about people, it is also somewhat false, and it seems to be fake in order to show Liu Bei's length. , Zhuge's wisdom is close to that of a demon; but Guan Yu's many good words and righteousness and bravery can always be seen - from Lu Xun's evaluation of the social influence of "The Romance of the Three Kingdoms" far exceeds its literary value. . Obviously, as far as literature is concerned, its character creation skills are indeed first-rate, and later Chinese novelists have learned from it - comments from Jin Yong. "The Romance of the Three Kingdoms" expresses the artistic genius of the Chinese people. Occupying a prominent position among many novels, it can be said to be a truly masterpiece with rich people's character - evaluation from Russian Koloklov
Extended information: Luo Guanzhong's literary characteristics: Luo Guanzhong. , a novelist in the late Yuan and early Ming dynasties. Luo Guanzhong participated in the uprising against the Yuan Dynasty in his early years. After the establishment of the Ming Dynasty, he devoted himself to literary creation. The characteristic of his chapter novels is that each chapter is relatively independent and has neat paragraphs. They are connected from beginning to end, forming a unified whole. Known as the originator of Chinese chapter novels, Luo Guanzhong is good at creating tense situations as the driving force for conflicts. p>
Reference materials: Baidu Encyclopedia - Luo Guanzhong Baidu Encyclopedia - "The Romance of the Three Kingdoms"
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