A Study On The War Narration Of The Sixty Kinds Of Opera

The Sixty Kinds of Operas is a selected anthology of operas by Mao Jin,a famous book collector and publisher in the late Ming Dynasty.It is worth noting that the playwright of the Sixty Kinds of Melodies frequently writes about wars,and the war scenes in the plays are rich in content and varied in form.This paper takes the war plot in Sixty Kinds of Operas as the research object,firstly statistics the works involving war plot in Sixty Kinds of Operas,and makes a classified analysis of them,and then discusses the narrative art of war plot respectively from the types of plots and artistic functions of war narrative.Finally,case study is used to further deepen the artistic characteristics of war narration in Sixty Kinds of Operas.The introduction part mainly introduces the basis and significance of the topic selection of this paper,and summarizes the present research on the war and ancient Chinese opera,and takes it as the academic background of this paper.In order to try to make further expansion of the existing space for discussion.The first chapter firstly sorts out the works involving war narrative in The Sixty Kinds of Operas,summarizes the characteristics of the war narrative content from the aspects of war material,war choice,war result and so on.Secondly,according to the different types of themes,the works involving war narration in The Sixty Kinds of Operas are divided into historical plays,love plays,enlightenment plays,immortal-taoism plays and political plays.Combined with the ways of the emergence of war plots(as the main line,as the secondary line,as the key plot),then discussed the characteristics of war plots in different themes of The Sixty Kinds of Operas.It also explores the characteristics of war narration in different drama themes by means of categorical research.The second chapter,starting with the plot elements in narrative theory,sums up the type plots of war narration in The Sixty Kinds of Operas,and respectively selects the plots of“enemy attack”,“receiving orders and negotiation strategy”,“fighting and receiving rewards”,and“parting and refuge”,which are elaborated from the aspects of narrative content,narrative characteristics,narrative techniques,narrative functions,and narrative value.The third chapter focuses on the artistic function of the war narration in The Sixty Kinds of Operas,which is embodied in the following four aspects: First,the war narration focuses on shaping the colorful characters,reflecting the war environment to reveal the characters’ personalities,the attitude to the war to highlight the characters’ quality,the writing of strategies to show the characters’ talents,and the contrast to highlight the characters’ characteristics.Second,the war narration,by forming a complex structure,promoting the turning point of the plot and affecting the fate of the characters,promotes the operas developing develop a twists and turns of the plot.Third,dramatists use direct description and indirect description to show the war,which makes the war scenes in The Sixty Kinds of Operas have different forms.The fourth chapter adopts the method of case study,and chooses Zhang Siwei’s Shuang Lie Ji and Shen Cai’s Qianjin Ji as cases to discuss the war narrative in the two works respectively.Among them,the artistic achievements of war narrative in Shuang Lie Ji are mainly manifested as flexible narrative perspective,flexible narrative rhythm and complex and rigorous narrative structure.In the selection of plot content,the war narrative of Qianjin Ji has the characteristics of being truly extraordinary.It seeks to avoid the crimes in the description of multiple wars,and depicts the distinctive forms of war.In addition,the text also uses the narrative art techniques of contrast and delay to enhance the interest and readability of the war narrative.In short,the war narrative in The Sixty Kinds of Operas not only enriches the text content of the opera,but also enhances the appeal of the stage,which precisely reflects the Ming Dynasty literati playwright’s double attention to the script on the reading and playing the stage,and reflects the distinct consciousness of “script position”.Besides,the war narrative in Sixty Kinds of Songs also shows the superb narrative art achievement of Ming legend.The playwright attaches great importance to the flexible change of the perspective of war narrative,the powerful regulation of narrative rhythm,the exquisite design of narrative structure,the careful selection of narrative content and the ingenious use of narrative artistic techniques,etc.All these also prove the deepening of the understanding and the improvement of the level of narration in The Sixty Kinds of Operas.