The opera drama was based
on a story written by a woman novelist of 18th century.
The writer chose the Mongol’s Yuan dynasty as the backdrop
setting for her fictional tale, which made the fable even
less credible, since under the segregated Yuan society,
a Han Chinese would not be allowed to be a prime minister.
And it is also worth to point out, that almost all Mongol
emperors were obsessed with Tibetan Lamaism, and according
to the historical records, they spent most of their time
lingered in the inner quarters of the palace, totally naked,
along with equally naked lamas and court ladies, playing double-cultivation (元顺帝太子爱猷识理达腊说:“李先生教我儒书许多年，我不省书中何义，西番僧教我lama经，我一夕便晓.”). The historians generally attribute the
quick collapse of this short-lived dynasty to, among many
other factors, the wicked voodoo sex they practiced, which
included group sex, incest and sex with animals. A blatant
sexholic is a hostage to his own beast instinct thus incapable
of being romantic which though isn’t an enlightened state
of mind but is, nevertheless, a delicately refined temperament.
Judging by the hopeless
romanticism displayed by the emperor in the play, who was
young and was reckless and was unassuming and was well-versed
and was martially competent, the profile of Lijun’s boss
is very close to a real historic figure - Emperor Wuzong
of Ming Dynasty (明武宗), one of the most, if not THE MOST, interesting
character among all Chinese monarchs.
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Chinese Cross Dresser (2)
Yue Opera Maestro