On the "Cultural Essays" on the Internet, a netizen, Mr. Planning Zhiren, traced the origin of Yu's so-called "Great Cultural Prose" from the distinction between ancient "Wen" and "Pen", which was very insightful. Indeed, Yu's lack of knowledge and flashy style of study put him in a difficult position in academic character. Because there are too many mistakes in his works, besides those mentioned by critics at present, they can also be seen everywhere in academic monographs. Reading all the way is like drowning in the throat. But it seems inappropriate to talk about this. Speaking of it, young friends who worship Yu think it's just a joke with their teacher Yu, out of jealousy. Professional researchers engaged in academics may think that this is a waste of pen and ink and a waste of life. However, where is the flute? It is the lines of Mr. Yu, a "drama culture scholar", and it is also a well-known academic work, which is praised as a high-level work by himself and related media. Here, I might as well give a simple example:

At the beginning of this book, Mr. Yu criticized Wang Guowei and Hu Shi. He accused Wang Guowei of overestimating Yuanqu 90 years ago. Yuanqu was the "center of gravity" in the study of China's opera history, but it failed to give Kunqu the highest status. He also criticized Hu Shi's "cultural evolution theory" and affirmed that the flower cloth replaced the declining Kunqu opera, which made many modern people "regard Pingju (Peking Opera) as the representative of China's traditional opera and lost this concept to the international community". Therefore, Yu proposed that only Kunqu Opera is "the highest paradigm of China's traditional drama" and "there is no other drama in the history of China drama". Next, Yu Xiansheng attributed the reason why Kunqu Opera is so "lofty" to: there has never been a kind of opera that can attract "the high concentration of upper culture" like Kunqu Opera, and "Kunqu Opera is a category that absorbs the most upper culture in secular art". The direct reason is that the cultural level of Kunqu Opera writers is higher than that of Yuanqu Opera writers. He said, "If we compare the creative teams of northern zaju and Kunqu Opera as a whole, we will find that there are many more people with high cultural level in the Kunqu Opera creative team. Generally speaking, the backbone and representative figures in the northern zaju creation team are the middle and lower class intellectuals among the literati, while the backbone and representative figures in the Kunqu creation team are the upper and middle class intellectuals among the literati ... There are extremely rare scholars and seasons among the zaju writers in the Yuan Dynasty, and there are as many as 28 playwrights who are only officials in the Ming Dynasty. "

The statistics of these 28 people are accurate or not. First of all, if we study the history of Chinese drama, can we make such a "comparison" between Yuan Zaju, Kunqu Opera and Huabu (represented by Beijing Opera) and draw a conclusion about which is higher or lower in the history of drama? This is a problem. Another question is whether there is a fact that the cultural level of Kunqu writers is higher than that of Yuan Zaju writers, which leads to the fact that Kunqu is higher than that of Yuan Zaju?

I think these are two false propositions, which fully illustrate Yu's loopholes in understanding and arbitrariness in thinking.

First of all, the legends of Yuanqu and Kunqu are the middle and lower reaches of a drama river. There is no so-called high-low problem, but a problem of successive development. Is it possible to think that Tang poetry is higher than Chuci, higher than Han, Wei and Six Dynasties, and that Li Bai and Du Fu are higher than Qu Yuan, Tao Yuanming and Zuo Taichong's 19 ancient poems because there are many authors of Tang poetry, leaving a large number of works closer to our modern times in language and expression? Without such a comparison method, such a judgment should not be made at all! Culturally, without the former, there is no latter. Can we build a beautiful "three-story building" without one or two floors? Even with Shakespeare, the most brilliant American Hollywood blockbuster in modern times, we have no reason to laugh at and belittle the simple and noble Greek tragedy, let alone despise the simplest popular drama in the medieval European town square!

Second, can the playwright's "educational level" be directly linked with Yu's "national studies" and be equated? Although he also said: "The imperial examination grade is certainly not equal to the cultural grade", he repeatedly stressed that Kunqu opera is "the high-concentration intervention of the upper culture", that the scholar who entered the middle school is "the cultural grade is high", and that the scholar who wears cloth clothes is obviously the cultural grade is low, which is enough to understand. This is not typical snobbery. What is this?

After the Tang, Song, Ming and Qing Dynasties, and since the establishment of the Imperial Examination in Sui Dynasty, a large number of talents have been produced in the Imperial Examination, but it is mainly talents who manage the civil service administrative system of the country. The situation of literature is much more complicated, and literary talent can never be tested by Jinshi examination, especially after taking Confucian classics and stereotyped writing as the main examinations.

Neither Li Bai nor Du Fu was born as a scholar. Xin Qiji led the rebel army south and made great achievements in the Southern Song Dynasty. He has nothing to do with those scholars, but all the great men he made friends with, such as Zhu, Lu You and so on. He didn't respect and admire him because he didn't get a scholar. Jiang kui will always be a cloth. What about "culture"? It is absolutely first-class in poetry, long and short sentences, music and calligraphy. Lin Bu, Yan (son of the Prime Minister), He Zuoxiu, Zhou Bangyan, Liu Guo, Zhou Mi, Zhang Yan and other poets and poets, which one was a scholar? Shi Naian, Luo Guanzhong, Wu Cheng'en, Cao Xueqin, Jin Shengtan, Hong Sheng, Kong and Pu Songling, these great literary geniuses, who are the scholars among them? Literary talent, to be fair, is not closely related to whether or not you get into the Jinshi. There are also literary talents among Jinshi, especially traditional poetry creation. Those who write novels or a large number of short stories, or those who take literature as their profession all their lives, can have more time to write for a long time only if they are not scholars and officials; On the other hand, just because you are not an official and live between the upper and lower levels of society, you can gain insight into the pros and cons of politics, the sufferings of people's livelihood and the authenticity of human feelings, you can see through the darkness of official career and officialdom, and you can wholeheartedly take "asking for an explanation" as the destination of life.

In addition, why are there fewer writers and literati in Yuan Zaju? Yuan rulers began in Shuomo, and after they entered the Central Plains, they ignored culture and education, engaged in ethnic discrimination, had deep hostility and suspicion towards the Han people, and refused to adopt the imperial examination system for a long time. In the local area, Mongolians and Semu people who don't know Chinese characters and China culture are officials, while Han people are officials. The historical facts of imperial examinations in China Yuan Dynasty show that although the Yuan Dynasty ruled the whole country for only 97 years, the Mongolian imperial examinations perished before the Southern Song Dynasty. The imperial examination was not held in the former Jin state for 70 years, and it was not held in the south for more than 40 years. Most of the people who wrote zaju were northern literati, and the last period was in the turbulent era of peasant uprising. In such a long and peaceful historical period, there is no formal appointment system. Where can I invite scholars to study in China? The first-rate dramatist in Yuan Dynasty, judging from his plays today, which one is not well-versed in learning classics? Wang Shifu, Guan Hanqing, Zheng Guangzu, Bai Pu, Ma Zhiyuan and the so-called "Guan Zheng White Horse" of The West Chamber are all scholars. Is it accidental? It is a "discovery" to think that the status and achievements of Yuanqu Opera are inferior to those of Kunqu Opera, which is determined by the ridiculous reason that the author's "cultural level" means that there are few scholars. However, this "discovery" is vulgar and absurd. This is the academic unconscious enlightenment of Mr. Yu, who is also a dean, consultant and academic title.

In this respect, Mr. Yu is far less than the ancients. People of insight in ancient times regarded the imperial examination as a stepping stone to be an official. It is not only a political outlet, but also a tool for raising relatives to make a living. Like Mr. Yu, he equated "The Scholar" with knowledge and culture, and discussed the inheritance of traditional Chinese opera with the tone of the people in "The Scholars". Such opinions are really rare!

Based on the above reasons, it is normal that there are more legendary writers, Kunqu writers and literati in Ming Dynasty than in Yuan Dynasty. Because from the founding of the People's Republic of China, the imperial examination was held as scheduled until the Qing Dynasty, and it was never abandoned as long as the Yuan Dynasty. However, there are still a large number of Kunqu playwrights who have no connection with Jinshi. If there are 28 Jinshi among them, it is still very few. Among them, there are ten or twenty times as many playwrights who fail to enter the Jinshi. For example, Liang Chenyu, the first great Kunqu playwright who wrote "Huansha Ji", was not a scholar, nor were Li Yu and Li Yu, dramatists in the late Ming and early Qing Dynasties. Are they "high cultural level" or "low cultural level" as Yu said?

Statistics obviously can't prove the argument here. In the final analysis, the background of imperial examination is not a sign of the cultural level of playwrights engaged in literary and artistic creation.

Most of Mr. Yu's academic remarks are like this. As for him, he didn't praise Wang Guowei's epoch-making work "An Examination of Song and Yuan Dramas" written by Kloc-0/912, but affirmed Wang Guowei's insight that Yuan Zaju "is the most tragic, such as Guan Hanqing's" Yuan "and Ji's" The Orphan of Zhao "... even if it is included in the world tragedy, it is worthy of color. I don't know if Wang Jing 'an's zaju is staged in Goulan and Theater, rather than in the study first? On the contrary, quite a few works in Kunqu Opera are too elegant, just desk-made, and have no theatrical effect. I wonder if Mr. Yu has seen it? How to evaluate?

In fact, Kunqu opera, as one of the southern operas in Yuan Dynasty, later developed into a drama with a history of 600-700 years. It inherited Yuan Zaju, and had a wide and profound influence on other operas in Hua Department. There is no question of who is important, who is not important, who is the "highest paradigm" and who is not. Mr. Yu's style of study has always liked to boast of the beginning of the world, which is bound to obliterate his predecessors, highlight himself and boast of being amazing. In fact, since the Ming and Qing Dynasties, as an artistic variety and a huge artistic heritage, Kunqu opera has been paid more and more attention, and no one dares to ignore it. Before and at the same time, there have been many research works on various aspects of Kunqu Opera. I am as modest as I am. I have read dozens of books, including the development history of Kunqu opera, music, scripts, plays, performances, Le Jia troupes, training, actors, costumes, inscriptions, cultural relics and so on. There are many books that study, study and comment on Kunqu Opera as a drama and historical and cultural phenomenon. Opera historians have paid enough attention to Kunqu opera, and there is no problem of low evaluation at all. However, Mr. Yu insisted on grandstanding and invented the so-called "highest paradigm" theory, which was not tenable academically. In fact, this is just a snobbish view. Such a "monograph" devoted to the study of Kunqu Opera, in fact, is far from any discovery or invention except for its fancy writing. What can be given to readers is the above "unique insights" that make people laugh and cry, and its value can be imagined!