Yuan Dynasty Dynasty 30 "study

The aim of this dissertation is to explore the real condition of Yuan Northern Drama according to the subtle study of Yuankan Zaju Sanshizhong(Thirty plays printed in the Yuan Dynasty). In the course of study, this dissertation employed the comparison with Ming editions, mainly including Maiwangguan and Yuanquxuan editions, to demonstrate the characters of the plays printed in Yuan Dynasty, based on the similarities and differences between the structures , the measures and the contents expressed and the result of such expression of the text from different dynasties. Meanwhile, according to the study, we can search the evolving clue of the drama texts from Yuan to Ming Dynasty, and get the confessed examples to prove further that the study of Yuan Northern Dramas can not stand on the Ming editions only.The introduction present the study of Yuankanben which have got in the academy briefly. Based on the summarization, this dissertation will make effort to read and obverse the text of Yuan and Ming editons closely, and hope to make progress on the study in this field.In the general description, the course of how Yuankanben was collected and come down, the writers and times of the works, the sorts of the works grounded on the subjects, and the homologous works written or printed in Ming Dynasty are all cleaned up in detail. This part provides the foundation for the following analyses.Chapter one focuses on the parts of title, theme and proper title of Yuan edition, observing their position and convention showed in the texts, exposing and analyzing the content they cover, and being compared with Ming editions. According to the measures above, we try to revert to the former condition of the theatre or the texts, which may have been erased or transformed by the change of each parts in Ming editions.Chapter two specializes the types of roles in the Dramas of Yuankanben, and how they found the form of association with the type characters in Dramas. This part is divided into two parts, the first one applies itself to demonstrate the characters of the roles in the Yuankanben, then the second one makes efforts to observe how the characters summarized above change by the way of comparing them with Ming editions. At the same time, we can explore and conjecture the conceivable condition of the roles and acting form in Yuan Dynasty furthermore, which may be really used to exiting at that time.From chapter three, the dissertation stepped into studying the main text of the texts printed in Yuan Dynasty, and this chapter is concerned to Binbai (prose). The cue lines, position and function of some incidental prose in the Yuankanben are anatomized particularly. On the other hand, when this part appears in the Ming edition, it has been changes or increased with no moderation. Through the comparison, we find the addictive part in Ming editions do not change the modalities of prose built in Yuankanben, which illuminates that the form of prose can already be used skillfully in Yuan's stage, and it's acceded and enhanced in Ming editions. However, there are some conflict existing between addictive prose and the poetry obviously, which may twist the meaning of the dramas, so this part in Ming editions provides exact proof that such texts can not be employed to the study of Yuan Northern Dramas with no reference.The following two chapters hammer at the center part of Yuan Northern Drama, poetry. The forth chapter focuses on the form of Qutao (musical modes), including the Gongdiao (modal system) the Quci(lyric) should follow, the measures to arrange the Qupai (arias), and the rules of how to dispose the words and use phonology within one arias. Certainly, such forms would be changed in the Ming editions, then how they are changed and what the changes lead to become to another key point worthy in exploring in this chapter.After we penetrate the form of the main part of Yuan Northern Drama, the last chapter pays attention to the lyric and what it says or wants to say. For the sake of analyzing it more clearly, the study is circled around the four functions of the lyric and try to revel how this part is changed in the Ming editions. According to such change, not only are the words changed literally, but also the characters are remolded, the plots are alter, and even the interest of the whole text, the intention of the dramatist are all influenced. Such comparison and analyze can aid us to figure the real condition of the Yuan theatres out gradually, and provide the chance to rediscover the study of this genre.The closing part is aimed to synthesize the characters of the plays printed in Yuan Dynasty, including the aspects of philology, form and the literary, on the base of which, the Yuan edition and it's value should be reflected seriously in the involvement of literature and drama ulteriorly. Besides to figure the real condition of the theatre and text of Yuan play out, such rediscovery and reflection may have some availability to the study of Yuan Northern Drama, and stimulate the academy to pay more attention to this edition when they intent to study this genre or correlative field.