A Comparative Study Of The Dramatic Theories Between Li Yu And John Dryden

The present dissertation, with its diachronic and synchronic perspectives, conducts a substantial analysis of the major critical texts and views on both Chinese classical opera and English classical drama by the most representative Chinese and English dramatic theorists, Li Yu and John Dryden. The basic stance hereby is to seek the similarity while retaining the difference, so that the universality and uniqueness in Chinese and English dramatic theories can be revealed and expounded, and the mutual understanding and communication as well as self-understanding can be achieved.The comparative analysis includes four major critical dramatic categories of structure, language, character and thoughts, in addition to their critical styles. First of all, Li Yu's innovation is his proposal of"Structure First"and"Establish the Main Focus"while Dryden's contribution lies in his revision of"Three Unities."Li Yu advocates the tightening of dramatic structure from the traditional structural looseness; in contrast, Dryden loosens"Three Unities", turning dramatic structure less restricted. In a sense, Li Yu and Dryden both inherit and deviate from their own traditional dramatic practice and critical practice, and tend to move towards each other's traditional dramatic heritage. Secondly, their views on dramatic language concentrate on its popularity, vividness, innovation, succinctness, musicality and variety of stylistic genres. Li Yu promotes the popularity of dramatic language while Dryden emphasizes its standardization and gracefulness. Thirdly, both Li Yu and Dryden stress the truthfulness of characterization. They consider decorum in emotion and reason as criterion for characterization, and emphasize the unity between its the common characteristics and unique features. By the dominance of the main character, Li Yu tightens the traditionally loose dramatic structure while Dryden favours the traditional English variety of characterization. Fourthly, both Li Yu and Dryden regard entertainment as the first priority function in drama, instruction second, and ideally the unity of both. Li Yu requires novelty for subject matter and innovation from the old source; however, Dryden is more concerned with imagination and craft for dramatic effectiveness. Last, Li Yu has much system and completeness in his framework of critical discourse while retaining the traditional style of critical commentary; nonetheless, Dryden lacks system and completeness in his critical discourse while his flexibility and casualness resemble the Chinese traditional style of critical commentary. Li Yu's and Dryden's rhetorical devices are well combined with their reasoning, forming a critical style with the unity of both vividness and rationalization.By such research and analysis, the dissertation reveals certain critical characteristics shared by Li Yu and Dryden as well as their unique features. Both Li Yu and Dryden deviate from their own critical heritage in their major critical views and ironically tend towards each other's dramatic heritage, and yet they do not merge or dissolve, but echo in the same large sphere. The similarity and difference at the various levels in Li Yu's and Dryden's dramatic theories enable us to understand ourselves and others better, to consolidate the platform for the communication between Chinese dramatic theory and English and even Western dramatic theories, and therefore to enhance the cultural exchange and mutual development between the East and West.