Study On The Drama Paradigm Of "Pipa"

In the history of Chinese drama ,Pipa is regarded as the first masterpiece of Southern Drama rejuvenation .Its birth not only boosts artistic taste and level and becomes important bridge between Southern drama and legend of the Ming and Qing Dynasty ,but also provides precious artistic resource ,resulting in having penetrating etc. In view of that, theoretical proposition of Pipa dramatic model is offered in my article. In view angle of model ,Integrate the edition of Pipa and documents on critical .Writing and performing in Ming and Qing Dynasty, discern inner logic between Pipa and development of drama and disclose the position and significance of dramatic paradigm of Pipa .Therefore, beneficial addition is contributed to the study of Pipa and ancient dramatic history.The article is divided into four charters.The first one is the theme paradigm of Pipa. Pipa has realized its ethic and moralizing by moving and infecting readers, andsensing and reasoning is the main character of ethic theme of Pipa. The explanation of playwright and critics in Ming and Qing dynasty can be divided into two approaches .The first one is praising the moral sense of Pipa in a particle angle, as a consequence, its edition becomes extreme tool of modalizing. The second ,they realized the art and appreciating beauty of ethic and moral drama to understand inner thought of aesthetics and learn the creating way of moving and reasoning.The second one, is its paradigm of structure. On the basis of structure of Song, Yuan and Southern drama .Pipa absorbs the merits of Northern drama, at the same time, succeeds in applying the plot of the appearance of young actor and actress and combination of high tide and low tide. The structure of Pipa was considered as landmark by playwright of Ming and Qing Dynasty, becoming the well accepted paradigm of legends of Ming and Qing Dynasty. Maoshengshan analyzes and valuates the structure of PIPA for the first time in the Seventh Genius on Pipa, representing the viewpoint of scholars. As a dramatists, Liyu has a deep understanding of the masterpiece in structural theory. So the status of the structural model of Pipa is solidified on the level of closet and stage by later critics.The third one is dramatic language of Pipa .Considering the development of drama, PIPA prelude southern drama by decent language, and makes for the appearance of diction school in Ming Dynasty. In terms of the art of theatrical language, the language of heroes is decent not polishing, natural not vulgar, setting a good example for language style of later playwrights. Pursuing literary and theatrical language, Pipa provides more tasteful ,theatrical speech for later plays .In criticizing Pipa, Xixiangji and Baiyueting, the arguments of the ory about language, writing skills and aesthetics bring benefits to identifying the essence and value of play .As forefather of drama, Pipa is the focus of plenty of arguments.The fourth one is the rhyme style of Pipa. The standardizing arrangement of form and pattern is widely accepted by orifices and playwrights in Ming and Qing Dynasty .However, the rhyme based on Southern dialect makes it the focus of arguments of Ming and Qing Dynasty .So the critics establish the musical system of the rising melodies which originate in Kunshan. While the praises pay high tribute to its natural rhyme .As one of the best chosen plays, PIPA is imparted to descendents in rhyme style. What's more, it falls into a pattern gradually by imitating of other writers ,.The rhyme style is the most essential factor to Pipa in establishing the position of "the forefather of drama".