By Yumin Ao
This ebook is a research of the thematic, narrative, and musical constitution of Yuanqu xuan [A choice of Yuan performs] variation of the Yuan zaju (variety play) Dou E yuan [Injustice to Dou E] initially composed by means of the very hot playwright Guan Hanqing (fl. 1260). even supposing different authors have studied those 3 features of Dou E yuan individually, this is often the 1st finished therapy of the subject as a scholarly monograph in English. Yumin Ao’s research is predicated at the variation of the play within the Yuanqu xuan [A number of Yuan performs] compiled by means of the Ming writer Zang Maoxun (ca. 1550-1620). Ao proposes that Dou E yuan, as a dramatic narrative which develops via its enactment at the level instead of by means of verbal presentation as a narrative, screens its integrative constitution of narration via its thematic improvement and inside its musical conventions.
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Extra info for A Study on the Thematic, Narrative, and Musical Structure of Guan Hanqing's Yuan Zaju, Injustice to Dou E (Currents in Comparative Romance Languages and Literatures)
Chapter two Modern Criticism of Guan Hanqing and Yuan Zaju Introduction In 1904, Lin Chuanjia 林傳甲 (1877–1921) published his landmark study Zhongguo wenxue shi 中國文學史 [History of Chinese Literature]. In the decades before and after the May Fourth movement (1919), a number of publications of historical accounts of Chinese literature appeared, such as by Xie Wuliang 謝無量 (1918), Ge Zunli 葛遵禮 (1921), Gu Shi 顧實 (1926), Tan Zhengbi 譚正璧 (1929), Zheng Zhenduo 鄭振鐸 (1931), HuYunyi 胡雲翼 (1932). Because of the indelible and undeniable distaste that orthodox scholars, critics and writers felt for “the dishonourable genre” of drama, books which claimed to be systematic histories of Chinese literature had, with rare exceptions, only brief introductions or general references to Chinese dramatic traditions.
15 Concerning Guan Hanqing’s characteristics, Yuan dynasty writers, such as Tao Zongyi and Xiong Mengxiang, stated that Guan was a talented man of letters but unconventional in his life-style. Tao wrote the following in his Nancun chuogeng lu 南村 輟耕錄 [Notes of South Village Made in Breaks between Ploughing]: At that time there was a man called Guan Hanqing who was held in high repute for his erudition and well known for his dissoluteness. 時有關漢卿者，亦高才風流人也。16 14 Xia Tingzhi, “Qinglou ji” 青樓集 (The Green Bower Collection), in QHHB (Tang-SongYuan Volume), 466.
3, 17. 28 The Ming scholar Wang Shizhen 王世貞 (1526–1590) made a similar point to that of Zhu Quan in the Qu zao 曲藻 [Language of Drama], in conjunction with the criticism of Xu Fuzuo 徐複祚 (1560–ca. 1630) in his Qu lun 曲論 [On Drama]. Both of them tentatively ascribed the last four additional acts of the Xixiang ji 西廂記 [The Romance of the West Chamber] to Guan Hanqing. Wang and Xu echoed Zhu’s remarks and indicated that the language style of Guan Hanqing was not resplendent and refined. The contemporary literati in the Ming dynasty thus determined what was regarded as literary elegance.