| The main research of this paper is the relation of origin between the ancient ghost ideas and the drama, also the ghost drama in Yuan Dynasty. This paper views that all kinds of matters and objects of the ghost culture, such as Sorcery rites and Nuo rites, helped to bring about the ghost drama and even influenced the drama's formation. Taking it as the train of thought, using the method of macrocosm and microcosm together, in the background of the drama's history in China, this paper studies the ghost ideas' special function in accomplishing the artistic quality of the ghost drama, predicts with large quantities examples that the ghost drama is the combination of the narrative factor in ghost faith and rites play, classifies the ghost drama in Yuan Dynasty and induce it's deep construction, furthermore, tries to form the standpoint with oneself on the complicated relations among the ghost ideas, rites play, ghost drama, and drama.This paper is composed of 5 body parts, preface and surplus.The preface introduces the necessity of researching the ghost drama and the paper's construction briefly.In the first part, it analyses the development of narrate in ghost faith. Have observed official faith, scholar's faith, folk faith separately, the triple structure formed in the faith of ghosts and gods of Chinese, it holds scholar's faith is the leading strength in narrates on ghosts. Of the ghost novels in Wei-Jin Dynasties, stories about ghost and people in Tang Dynasty, the novels of script for story-telling in Song Dynasty; the mystery desalinize gradually, the air of the common customs is strengthened gradually. The ghost's appearance is to serve reality purport of the works, to solve the realistic contradiction, not merely to tell such odd and unusual ghost stories. It has combined with drama then formed ghost drama with distinct Chinese characteristics.The second part observes the relations between drama and the Wizard, Actor, Nuo, Song and Dance, Rite for offering sacrifices to gods or ancestors, which exists with dense ghost culture. Then infers that drama is formed from the Rite.The third, discussing the effect of ghost's appearance on the stage, ghosts making the image full and vivid, and the life of ghost makes drama shocking, step by step, thispart takes ghost ideas into consideration on the unique function in writing the drama.The fourth part takes the connection between the factor of plot, ghost drama and even drama's maturity into consideration. The ideas of ghost in narrative art reflects the scholar's faith, belongs to the " refined" part in tradition relatively, while the drama embryo emerged from rites play, the supernatural ghost performs, belongs to the " vulgar" culture more. It is "the refined" combined with "the folk" that produced ghost drama. From Zhou Nuo to Song Nuo, the drama shaped tentatively. Mulian plays are the best combinations by religious rites and ghost narrate, so" the drama of Mulian's rescuing his mum" becomes the earliest drama. It is the earliest ghost drama too. The ghost dramas of Guan Ben Za Ju in Southern Song Dynasty, Jin Yuan Ben, southern plays in Song and Yuan, different from the rites play obviously, which draws materials from ghost story or ghosts and gods legend, is the result of drama's absorbing narrative factor, accepting the new quality after been produced and the embodiment of using the narrate achievements consciously in creating. Besides, those dramas impel the essential of drama to establish really, which is playing the story by song and dance.The fifth part divides the ghost drama in Yuan Dynasty into four kinds: the injustice, the love, the loyal and righteous, and the regret. It probes into the characteristics and achievements of every type separately, seeks the deep structures and the purpose of enlightening people by education, namely the cultural connotation blent of Confucianism, Buddhism and Taoism. The kind and evil will get it's own end that is agreed with inherently by the three. Thinking it as the center, combining all...
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