关于以程长庚、余三胜、张二奎为代表的第一代老生对以谭鑫培、汪桂芬、孙菊仙为代表的第二代老生的影响,第二代老生对第一代老生的继承关系,京剧史研究中历来有三种说法:第一种是“汪学程,谭学余,孙近二奎”(罗常培《中国人与中国文·从昆曲到皮黄》);第二种认为“谭鑫培学三胜,汪桂芬学长庚。孙菊仙乃外来之脚,与京脚没统系,虽私淑长庚,然并无何等关系”(齐如山《京剧之变迁》),或说“汪学长庚,谭学三胜,孙无所宗”(日·青木正儿《中国近世戏曲史》);第三种则说“程长庚是‘一教传三派’,在他之后,又形成孙菊仙、汪桂芬和我曾祖父谭鑫培鼎足的局面”(谭 The influence of the first-generation elders, represented by Cheng Changgeng, Yu Sansheng and Zhang Er-kui, on the second-generation elders represented by Tan Xinpei, Wang Guifen and Sun Juxian, the inheritance of the second-generation elders to the first generation of elders, There are three versions: the first one is “Wang Xuecheng, Tan Xueyu and Sun Niankui” (Luo Changpei, “Chinese and Chinese from Kunqu to Peel”); the second is that “ There is no relation between the foot of the alien and the foot of Beijing, but there is no relation between the foot of private and the foot of Changgeng ”(Qirunshan,“ The Change of Peking Opera ”) or“ Wang Xue Chang Geng, Tan Xue Sang Sheng, Sun Wu Zong Zong ” Zheng Er “history of Chinese modern drama”); the third said “Cheng Chang-geng is a” teach a biography three camps “, after him, and the formation of Sun Juxian, Wang Guifen and my great-grandfather Tan Xinpei Dingzu situation” (Tan