The Drama Reconstruction Of The Story Of "Historical Records"

Refactoring of dramas in Yuan,Ming and Qing Dynasties continuously inject fresh blood to The Historical Records.The refactoring of main characters in the Chu-Han Contention(206 B C-202 B C)is conducted in term of peculiar language,mentality and behaviors of respective figures.Divided into six parts,this paper collects and probes into phenomena of drama refactorings of main characters in the contention.Chapter 1.Drama refactoring of Xiang Yu's story.There are a total of 14 plays recording Xiang Yu in those of Yuan,Ming and Qing Dynasty,among which six was found in dramas of Yuan Dynasty,five in Ming Dynasty,three in Qing Dynasty.The refactoring of Xiang Yu's story consists of that of his language,mentality,behaviors and character images.The refactoring in Yuan,Ming and Qing Dynasties is manifested in the following three aspects:first,what those dramas focused on is the positive image of Xiang Yu that fully highlights his characters of foolhardiness,second,frequent utilization of words "God blocks my way" is a distinct example to unfold tragedy character of Xiang Yu,thirdly,taking the plot of "Wujiang Suicide",as an example,we can see that description of the figure is far more fresh and vivid through reconstructing.Chapter 2.Drama refactoring of Liu Bang's story.Amounting to 12 dramas record the story of Liu Bang in Yuan,Ming and Qing dramas--five in Yuan Dynasty,five in Ming Dynasty,two in Qing Dynasty.The refactoring of Liu Ban's story falls into the that of his language,mentality behaviors and his characters.It is mainly manifests in four aspects:first,the refactoring plot of Liu Bang offering amnesty and enlistment to rebel Ying Bu reveals his ability to manage and utilize talents,second,refactoring focus on Liu Bang's upright image makes it obvious his figure of a enlightened monarchy,third,with high reconstruction rate in the section of Banquet of Hongmen,it showcases through language of Liu Bang his wise mind and characteristics of satisfying to accepting advice,calming and meticulous thought,fourth,the elaborately refactoring plot of Liu Bang marching through Hangu Pass makes his image rather outstanding.Chapter 3,refactoring of Xiao He's story.There are a total of 10 plays recording Xiao He in those of Ming,Qing Dynasty,among which six was found in dramas of Yuan Dynasty,three in Ming Dynasty,one in the Qing Dynasty.The refactoring of Xiao He's story is composed of that of his language,behaviors and characters.The refactoring in Yuan,Ming and Qing Dynasties was expressed in three aspects:first,the high refactoring rate of positive image of Xiao He in those dramas gives audience an impression that Xiao He was a faithful follower of Liu Bang,second,a model example in the plot of Xiao He chasing after Han Xin at dark night in those dramas,highlighting that Xiao He was capable of perceiving a hero,thirdly,the conflicts of characters are stressed through language and behaviors in plot of Han Xin being killed.Chapter 4.Drama refactoring of Zhang Liang's story.12 dramas record the story of Zhang Liang in Yuan,Ming and Qing drama--six in Yuan Dynasty,four in Ming Dynasty,two in Qing Dynasty.The refactoring of Zhang Liang's story falls into that of his language,mentality,behaviors and that of his characters.It is mainly manifested in three aspects:first,with the highest refactoring rate,the plot of Zhang Liang revenging for Han Xin expresses Zhang's dedication to his country,second,the section of Zhang encountering HuangShi Man in the refactoring plot reveals his meticulous mind,thirdly,another typical example of the image is description of his sharp strategy,through which the affection towards Zhang is fully shown in dramas of Yuan,Ming and Qing dynasties.Chapter 5.Refactoring of Han Xin's story.There are a total of 11 plays recording Han Xin in those of Yuan Ming and Qing Dynasties,among which 5 was found in dramas of Yuan Dynasty,4 in Ming Dynasty and 2 in Qing Dynasty.The refactoring of Han Xin's story consists of that of his language,mentality,behaviors as well as his characteristics.The refactoring in dramas of Yuan,Ming and Qing Dynasties is manifested in the following three aspects:first,the high refactoring rate of Han's positive image highlights his excellent ability and sagacity,second,character language in the refactoring plot of Han leaving Xiang and going to Liu attaches emphasis to Han's gratitude to Liu Bang for being found and appreciated due to his ability,thirdly,taking language in the plot that Han unburdened resentment as an example,we can see that dramas refactoring stresses Hand's image of having courage in bearing disgrace and a heavy burden.Chapter 6.The significance of the refactoring of characters in Chu-Han Contention.Analysis is conducted from three aspects respectively.The first quarter are the causes of reconstructing characters in the Chu-Han in Contention,including four aspects:(1)the influence of politic,economy and culture of the times,(2)different creative angles and purposes of historians and writers,(3)separative ways and evaluation criteria in public understanding.(4)functions of irony,education,emotion expression and aesthetic appreciation.In the second quarter,the author explains process of refactoring and its influencing factors of characters in the Chu-Han Contention,which fall into three parts:first,the development process of language from simple description to large-scale drama dialogue,second,the plot shifts from recording of actual events to combination of nihility and reality,third,images of figures are shaped from three-dimensional style to individuation.The third quarter illustrates the significance of drama refactoring for Historical Records and Chinese literature,which contain the following three aspects:first,drama refactoring gives vitality to characters in Historical Records,second,it makes Historical Records classic,third,it enables the spirit of Historical Records to be eternal.