| In the late Ming Dynasty, at Yue Thong (around the city of Shaoxing), appeared a group of traditional opera scholars with Xu Wei as its center, including forty writers, such as Xie Dang, Wang Dan, Shi Pan, Shan Ben, Ye Xian-zu, Wang Ji-de, Lti Tian-cheng, Qi Biao-jia, Meng Cheng-shun and so on. This dissertation makes a study on this collective, focusing on the regionally cultural and ecological environment where it grew and the scholars' theoretical contribution and creation features. The whole dissertation is divided into three parts: Introduction, Main Body and Conclusion.Introduction is mainly about the origin of the name of the collective, current research about it, method and the significance of such research.Main Body includes seven chapters:Chapter One is about the regionally cultural and ecological environment where such a collective was conceived. Yue Thong was famous for its beautiful scenery since antiquity, and the favorable natural environment conceived the peculiar cultural features. In addition, the Yue Thong opera had a long tradition and was rich in stock Besides, Wang Yang-ming's Learning of Mind and heart had a profound influence on the emergence of this collective. All these elements had provided rich soil for the formation of such a collective.In chapter Two, the author expounds the collective's main constitution and its characteristics. These forty writers in this collective left behind 56 works. Most of them had humble origin and lifetime full of frustration, but they regarded opera as their life and stuck to such a career for life. They had a solid foundation of opera theories. Furthermore, their works were always of distinctive regional flavor.Chapter Three is a research on the association among these writers. The development of this collective can be generally divided into three stages. The first stage's center is Xu Wei, who contacted many Writers at Yue Thong. The center of the second is Wang Ji-de, who had a broad association with the writers at Yue Thong. In the third stage, a lot of writers gathered around Qi Biao-jia as their spiritual soul.Chapter Four and Five emphasize the collective's theoretical contribution. These writers created five monographs, twenty one prefaces and postscripts, six forewords, and scores of annotates and other comments on traditional opera which can be found in guides to the use of reference books, letters, diaries, essays, etc. Basically they made three aspects of theoretical contribution. Firstly, they extolled 6e?se(a conception here with meaning of nature /eeling, individuality ,etc.) and enriched it with more connotations. Secondly, they advocated "Double Beauty", and perfectly integrated melody on stage with exquisiteness in words by observing musical temperament and meanwhile demonstrating their literary talent during creation. Thirdly, the space of critical literature of opera was greatly widened.In Chapter Six, The author makes some comments upon their creation of zaju (a species of opera). Xu Wei's work Si Sheng Yuan, which was praised to be "one of the most magnificent work on the earth", symbolizes the highest achievement of zaju during the Ming Dynasty. Ye Xian-zu inherited the essence of zaju of Yuan Dynasty, and his works are natural and quite elegant. Meng Cheng-sun's works are always lyric and poetic, and his representative work, Peach Blossom .Beauty's Face, is a typical love story between talented scholars and beautiful ladies in the Ming Dynasty. Besides, ChenRu-yuan,, Lu Tian-cheng, Wang Ji-de, Wang Dan, Qi Lin-jia, Wang Tmg-lin and so on made their respective contributions to the achievements in the creation of zaju by the writers at Yue Zhang.Chapter Seven is about these writers' creation of legend-opera. Their works have distinctive regional flavor in the aspects of subject, plot, structure and language. The subject is always orientated towards the harmony between novelty of plots and conformance to human's natural feeling combined with rton-cfao(principal). The author point out that the structure is a...
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