Qing Dynasty Opera Literary History

The Literary History of Peking Opera in Qing Dynasty studies a list of scenarios, their conditional affairs of writing, artistic characters as well. It tries to distinctly give a brief account of the literature of Peking Opera in Qing Dynasty, describes its history of development and aesthetic values.Over a long period of time, the literature of Peking Opera is totally neglected in the research of Chinese literary history and traditional opera history. This phenomenon is not tally with the position that Peking Opera has for its name of the "country opera". Some history works of Peking Opera only pay their attention to opera acting and actors, and seldom emphasize the literature of Peking Opera which is the basis of acting. There is a long-time misunderstanding that the scripts of Peking Opera have less literary meanings compared with the literary works in Yuan and Ming Dynasties. However, literary meanings cannot be equal to dictions. The literary quality of traditional acting operas embody in their whole effects when being performed onto the stage. So the literature of Peking Opera which implied literary meanings has its special enchantment, and calls for more attention and deeper research in academic circles.The Literary History of Peking Opera in Qing Dynasty mainly has several parts as below:Firstly, this paper divides the literary history of Peking Opera into three main parts according to the development, that is, original period (from emperor Qianlong to Diaqing), developing period (from emperor Daoguang to Xianfeng), and the booming period (from emperor Tongzhi to Xuantong). It arranges and concludes a group of representatively fashionable scenarios and scripts written by man of letters. It also makes textual criticism and analysis on these scripts, especially does a lot textualresearch on------Full of Errors (written by Zhou Daochang), Happiness in Shujutang(written by Yu Zhi), etc.------some early scripts of Peking Opera written by man ofletters, which has certain systematicness.Secondly, this paper combs and concludes the varied aesthetic interests and critical atmosphere in different periods. It summarizes their characteristics and gives corresponding grounds of argument. For instance, it probes to the "Pin Hua" sentiment in emperor Daoguang and Xianfeng period; it also gives a minute conclusion to the theories of "reformism" in the period of emperor Guangxu.Thirdly, this paper gives deep analysis to some important phenomena in the developing process of literary history of Peking Opera. For example, the influences to the literature of Peking Opera by acting in royal court, the literary characteristics of Peking Opera in Shanghai, reformed literature of Peking Opera and so on. All these make The Literary History of Peking Opera in Qing Dynasty on one hand contain specific contents of Peking Opera literature according to certain logically historical development; on the other hand, have deep analysis to some relevantly special subjects. So this research has a related dual structure from both vertical and horizontal.In addition, this paper has its special characteristics and creative elements whichlie in the following points:Firstly, it studies the literary history of Peking Opera as a whole independent research target and gives deeply systematical research by putting the literary history of Peking Opera in the reforming background of the whole traditional opera literature. This work has something meaningful and complementary to the deeper research of traditional opera literature.Secondly, this paper affirms the imperial characteristics and the style of marketplace which are the historical results of aesthetic transformation in literature of modern times. It not only accords with the present needs of literary history which constantly broaden its studying field of vision, but also set up the self-characteristics of Peking Opera literature compared to scripts in Yuan, Ming and Qing Dynasties.Thirdly, this paper finds and expounds some extremely valuable early scripts of Peking Opera and comments from historical and acting files of Qing Dynasty. For instance, the research on the script Full of Errors written by the early writer is of opening meaning. This offers new means and clues to the further development of Peking Opera history, traditional opera, even Chinese literary history as well.