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The secret of the Two Leis lies behind the imperial court; the situation of Da Lei seems even more mysterious than that of Xiao Lei. Records in Xiao Lei mention musicians in the Tang palace skilled in performance, giving rise to a legendary anecdote. By the Qing dynasty, the renowned opera writer Kong preserved Xiao Lei and, based on this anecdote, collaborated with opera writer Gu Cai to make "The Legend of Xiao Lei" widely known.
On the other hand, Da Lei Hu has never left this world since entering the restricted zone. According to Lin Shu's "Zhen Lei Ji," Da Lei Hu fled into the civilian realm after the war and did not reappear until the end of the Yuan dynasty. During this period, Da Lei Hu endured over five centuries of storms and trials, the details of which remain unknown.
"The Ganlu Incident marked the collapse of the central pillar; no revolutionary police remained—Xiao Lei had truly fallen into the mortal world." —Lin Shu, "Zhen Lei Tu"
At the end of the Yuan dynasty, Da Lei Hu was collected by Yang Weizhen, a renowned Yuan dynasty literary figure and calligrapher, who styled himself Lianfu and also called himself Tieya. In the preface to his poem "Xie Lu Jingfu Hong Ya Guan Ge," he recorded: “This object was passed down from the former palace attendants of the imperial temple; Tai Niang of Cangjiang, Jingfu, excelled in singing and storytelling, hence this poem was inspired by it.”
Another poem reads: “The iron-hearted Taoist blows his iron flute; thunder explodes at Longmen’s stone. Through the entire night, wind and rain lash Cangjiang; thousands upon thousands of aquatic creatures roar mournfully.”
From Yang Tieya’s surviving poems, it is evident that during this period, he not only acquired the treasure of Da Lei Hu but also had individuals capable of performing with Da Lei Hu. He frequently performed solo and ensemble pieces with Da, and the use of harmonics suggests that Da’s musical performances may have been more turbulent and magnificent than traditional pipa or xiao music.
After such a short time, Da once again vanished into anonymity; when it reappeared, it was acquired by Liu Ruifen’s fifth son, Liu, a renowned late-Qing artist specializing in carving, preservation, and connoisseurship. For the first time in nearly a thousand years, the large and small Lei Hu finally reunited.
In the second year, Liu bowed down and purchased the xiao from the Zhuo family, who had preserved it; yet he remained unsatisfied, still pursuing romance with Da Lei Hu. “Ancient jade and Xiao repeatedly fought for fire, yet neither discarded their possession—neither the great nor the survivor could forget.” Liu’s “Legend of Xiao Lei” aided those striving to help themselves, and the legend of the Two Leis was inadvertently perpetuated. In November of the same year, while visiting the pianist Zhang Ruishan and discussing ancient music, Zhang mentioned that thirty years earlier he had acquired an ancient musical instrument in the capital—likely Da Lei Hu. Liu and Chen Pinjian compared the sizes of the two Leis: upon inspection, the crackled patterns were faint, resembling remnants of Tang, Qin, and lacquer artifacts, all bearing Tang-era seals. Liu’s “Legend of Xiao Lei.” Even more precious, upon hearing that Xiao was in Liu’s possession, Zhang Ruishan presented Da to Liu, allowing the two instruments to finally unite as one.