By Yumin Ao
This booklet is a examine of the thematic, narrative, and musical constitution of Yuanqu xuan [A collection of Yuan performs] version of the Yuan zaju (variety play) Dou E yuan [Injustice to Dou E] initially composed by means of the extremely popular playwright Guan Hanqing (fl. 1260). even supposing different authors have studied those 3 elements of Dou E yuan individually, this is often the 1st complete remedy 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 collection of Yuan performs] compiled through 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 way 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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Additional 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)
26 | a study on the thematic , narr ative , and m u s i c a l st r u c t ur e and his dramatic production. It indicates that Guan was excellent in applying natural language to depict characters in his dramas. To summarize, it is in the Yuan dynasty that classical Chinese theatre reached its apogee. With the emergence of a large number of playwrights and dramatic productions, performances of Yuan zaju flourished. However, theatrical theory was not systematic and had a quality of simplicity. But the reputation and influence of Guan Hanqing as a dramatist won the attention of the Yuan writers.
Fubao tang ji 負苞堂集 [Collected Writings from Fubao Hall] (Shanghai: Gudian wenxue chubanshe, 1958), 84–5. 2 Comparison of the Gu mingjia and Yuanqu xuan Editions of Dou E yuan46 Gu mingjia (GMJ) edition of 1588 Zang Maoxun, Yuanqu xuan (YQX) Longer timu 題目 (title) and zhengming 正名 (name) No wedge Less complex plot and less detailed dialogue Fewer arias in Acts I, III, and IV Shorter timu and zhengming Wedge Plot alterations and more specific and detailed dialogue, especially in Act IV Zang Maoxun adds his own arias to Acts I, III, and IV Master metaphor of economic transaction: Metaphor of economic transaction exists but debt, repayment, commodification, and not so prominent reciprocity Theme of karma weaker Theme of karma strong Cai Popo marries Old Zhang Cai Popo does not marry Old Zhang, but the marriage remains under negotiation Dou E resents her mother-in-law, even Less criticism of Cai Popo; theme of Dou E abusing her as a filial daughter-in-law strong Motive of sexuality strong Motive of sexuality weak The themes that were present in the original GMJ edition that were de-emphasised by Zang Maoxun include the idea of sexual deprivation, karmic retribution and the metaphors of economic transaction.
Guan hanqing , his zaju composition and the editions of dou e yuan | 27 Before some later critics tentatively focused their attention on plot structure, the comments of most Ming and Qing scholars were predominately on the stylistic features of the zaju: the prosodic, musical and linguistic features. From around the fourteenth century onwards, studies of the prosodic, musical and linguistic aspects of Yuan zaju caught the attention of a considerable number of critics, like Zhu Quan 朱權 (1378–1448) and his contemporaries, as well as the elite literati of successive generations.
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) by Yumin Ao