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Annotation system

Summary

Reasoning

Digital keyboard

Kanbun-LM is not shown here because automatic generation is Japanese-only. This patch keeps the manual path as the default workflow.

Source page


# WORK_TITLE: 崑曲
# DISPLAY_TITLE: 崑曲
# AUTHOR:
# TIMES:
# PAGE_TITLE: 崑曲
# CATEGORIES:
崑曲
者，聲腔也。源之崑山，唱以曲牌聯用，奏以曲笛三絃，白以中州官話。

明
正德
年前，南戲作者多無可考者，而辭亦鄙近，無定音律。又其各囿於地域，同文而異腔者比比。有
魏良輔
者，江西人，能諧音律，久滯太倉，交
張野塘，以南北曲之不相洽，變弋陽海鹽二腔，混一而成，俾南曲收音純細，而使北曲轉無北氣，複變樂器，合笛管笙琴琵琶弦子於一堂，致調用水磨，拍牙冷板，號謂崑曲。崑山梁辰魚，繼其踵作《浣紗》一劇，率用新調，一時文人優伶爭習，以是風靡南北。崑曲於明清二朝，風氣所趨，自盛而衰也。明嘉靖而至清康熙，崑曲之盛，殆非他腔之所能逮者，然迨花部起，風潮遂變，崑曲漸泯，及至民國，崑伶凋敝，幾近絕斷矣。後共和國時，
浙江崑劇團
搬演《
十五貫
》，始又中興，繼而各地崑劇團連仍而立，傳習及今。

劇目

崑曲劇目甚多，計隆慶以來常搬演者，如明
王世貞
《
鳴鳳記
》，
湯顯祖
《
牡丹亭
》《
紫釵記
》《
南柯記
》《
邯鄲記
》，高濂《
玉簪記
》；清
孔尚任
《
桃花扇
》，
洪昇
《
長生殿
》等。

Annotation-system text

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Propose a text edit (creates a ticket)

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Punctuation options

Preset Source Modern CJK (Traditional) Modern CJK (Simplified / PRC) Pure classical Strip Custom

Quotes

Family

Chinese quotation marks 「」『』 Latin speech marks “ ” ‘ ’ Chinese speech marks ＂＇ Off

Ordering

Traditional: 「甲『乙』丙」 Simplified: 『甲「乙」丙』 Vertical quote forms (﹁﹂﹃﹄)

Question / Exclamation Keep ？ Collapse ? → 。

Keep ！ Collapse ! → 。

Semicolon / Colon Keep ； Collapse ; → 。

Keep ： Collapse : → 。

Comma Use ， Use 、

Repetition mark No repetition mark (default) 々 (Horizontal) 〻 (Vertical) 二 (Western Zhou-style)

# WORK_TITLE: 崑曲 # DISPLAY_TITLE: 崑曲 # AUTHOR: # TIMES: # PAGE_TITLE: 崑曲 # CATEGORIES: 崑曲者，聲腔也。源之崑山，唱以曲牌聯用，奏以曲笛三絃，白以中州官話。明正德年前，南戲作者多無可考者，而辭亦鄙近，無定音律。又其各囿於地域，同文而異腔者比比。有魏良輔者，江西人，能諧音律，久滯太倉，交張野塘，以南北曲之不相洽，變弋陽海鹽二腔，混一而成，俾南曲收音純細，而使北曲轉無北氣，複變樂器，合笛管笙琴琵琶弦子於一堂，致調用水磨，拍牙冷板，號謂崑曲。崑山梁辰魚，繼其踵作《浣紗》一劇，率用新調，一時文人優伶爭習，以是風靡南北。崑曲於明清二朝，風氣所趨，自盛而衰也。明嘉靖而至清康熙，崑曲之盛，殆非他腔之所能逮者，然迨花部起，風潮遂變，崑曲漸泯，及至民國，崑伶凋敝，幾近絕斷矣。後共和國時，浙江崑劇團搬演《十五貫》，始又中興，繼而各地崑劇團連仍而立，傳習及今。劇目崑曲劇目甚多，計隆慶以來常搬演者，如明王世貞《鳴鳳記》，湯顯祖《牡丹亭》《紫釵記》《南柯記》《邯鄲記》，高濂《玉簪記》；清孔尚任《桃花扇》，洪昇《長生殿》等。