The Research On Tubi Huang's Opera

Tubi Huang is one of the most important dramatists during Qing Dynasty, but with relatively few scholars'attention. Till recently, there is no integral study and discussion on his opera works, including romance and Sanqu. This paper is aimed to make comprehensive view on Tubi Huang's own life and his opera works. Combined with discussion on his opera theory, this paper is helpful to clarify the main characteristics of Tubi Huang's dramas, get reasonable evaluation of importance and effect for Tubi Huang in the history of Chinese opera, and promote the research of opera study in Qing Dynasty.The first chapter introduced all Tubi Huang's life from the Gallery of Seeing Mountain Loft and other materials. It made Tubi Huang fully lonely that non-prosperous family and relatives who have gone. He was always unlucky in the official career from"waiting to be hired in the Capital"to"suspended by the official department". It was difficult for him to find intimate friend in the relationships with other officers, but easy for him to make emotional sincere with ChuShi people. The factors from his family, career and friendships potentially influenced Huang's thoughts on life and friends, and then affected his opera creations.In the second chapter, Huang's opera plays were overviewed."Paimenzhai Legend"introduced missing works with the help of new materials, solved the writing time sequence problem for two only existing copy legend of Jie Jindiao and the gentle town, denied that the author of Chenghuaitangouji Gentle Town Legend is Huai Yu, and determined that Tubi Huang started the opera creation in childhood depending on the writing time of Mengchaiyuan. The"See Mountain Pavilion"part recorded the survey of Leifeng Tower and Xiyun Stone, and discussed the author problem of Shuangzhi Ji using an new-found material from Tubi Huang's poems. In addition, the Leifeng Tower was separately studied for subjects consisting its author, different versions and the limitation of creative thinking for Leifeng Tower. Chapter 3 probed into Hunag's Sanqu. This chapter counted the using rate for the 90 Xiaoling's Gongdiao and the words. On this basis, this chapter investigated the writing characteristics for the involved several major subjects, such as poems between friends, admiring views, romance, and exclamation for the society. Tubi Huang is the one who did take the unity of form and connotation for"Yuanqu creations"in Qing Dynasty, and analyzed the"song taste the stylistic features of the song", including work style and the characteristics of opera language. Those made the Tubi Huang's creation closer to the"elegant"school that the ideological connotation of bold and unconstrained temperament and common tendency flowing form, as well as the language that converted"vulgar"to"elegant".Finally, the fourth chapter studied the relationship issues between Tubi Huang's sanqu creation and the opera theory and then made the value assessment for his works. The relationship was discussed through the two characteristics of Jiqu and"Xujing"that used in every Xiaoling. The usage of Jiqu form was to realize"Quyouheqing","Xujing"came from"Lianqi", and"Xujing"is necessary for"both feeling and view", hence, sanqu creation took into effect of the theory in certain degree. Tubi Huang's sanqu works was corresponding with the"the taste of Yuanqu"in spirit, and both the works and theory indicated the pursuit of"sense of essence". Various style coexisting and profound creative thinking and theory reflected the creative achievement of this period and the whole Qing dynaster sanqu area. The interaction of creation and theory, amounts of works and remarkable creative characteristics made Tubi Huang become an all-powerfully important dramatist, who was very conspicuous in the whole opera period.