A Study Of Traditional Drama On Divorce In The Yuan Dynasty

Ever since the beginning of civilized society, there has been a love-based marriage between men and women, which has carried with it the inevitable possibility of a divorce. By no means unique to a certain period, or to a certain society, the phenomenon of divorce has always been coexistent with the whole human society. Since literature springs from life, it shoulders a special mission---the pursuit of the true, the virtuous, the fair; the criticism of the false, the ugly, the vice; and the judgment of the true and the false…The universal phenomenon of divorce will inevitably arouse people's concern and thinking. For generations there have been many scholars who are committed to the study of divorce phenomenon in literary works, with considerable achievements. With enlightment from the predecessors, this dissertation chooses traditional drama on divorce in the Yuan Dynasty as the subject of study. Based on this motif, and a detailed corpus-based study of relevant texts, it sets out to penetrate into the essence of the motifs of unfaithful love and divorce, reveal their prototypical trends and characteristics, and extract their hidden cultural connotations. It is hope that this study will facilitate a better understanding of the basic characteristics of the Yuan Dynasty society, that of family structure in particular.This dissertation is divided into four parts:The first part deals with different representations of literary works in different periods prior to the Yuan Dynasty, traces the origin of the phenomenon of divorce, and displays the unique style of literary works from High Antiquity to the Song Dynasty.The second part concerns a systematic classification of traditional drama on divorce in the Yuan Dynasty, with illustration of representative works of different types respectively. Through analysis and induction of relevant texts, this part gives a depiction of divorce phenomenon in the Yuan Dynasty and its external environment.The third part focuses on illustrating the peculiarities of traditional drama on divorce in the Yuan Dynasty: (i) With the heritage from the Song Dynasty, traditional drama on divorce in the hands of early Yuan writers still had a ring of tragedy, whereas late Yuan Dynasty saw a transformation from divorce into a family reunion, from reproach of unfaithful husband to a eulogy to loyalty and faith. (ii) As a folk art of speaking and a variant of traditional drama, traditional drama on divorce treated lower-rank civilians as its aesthetic objects, and unfolded in front of us a vivid canvas depicting customs and practices in a secular life. (iii) In traditional drama on divorce in this period, the fate of women was strikingly different from their counterparts in previous feudal societies, who were manipulated by their feudal-minded parents and husbands at will. Comparably speaking, women in the Yuan Dynasty gained in status in their marriage and family roles, for they were, to some extent, physically liberated, spiritually emancipated, and free to seek for their own love and marriage. (iv) Regarding scholars as their Mr. Right, women in this period tended to be more active in their pursuit of happiness in marriage. Should the marriage turned out to be unfortunate, they still enjoy the right to divorce and remarry, rendering it possible for them to regain happiness.Part four endeavors to bring out the cultural implications in traditional drama on divorce in the Yuan Dynasty: (i) Lost in its pivot and balance as thinking of the whole community was, the chaotic times not only turned the world of scholars, who were disposed of decency and reputation, into a hell, but also kept people of all walks of life in imprisonment. (ii) With spreading of shock waves from the Mongolian Yuan culture, the traditional Zhongyuan rational culture witnessed a dislocation. Under this impact, people gained considerable mental emancipation and unprecedented freedom. However, with the strengthening of family power structure, rationalistic Confucian philosophy rose to a privileged status, the fresh air of mental emancipation gradually dispersed, and increasingly strict gender segregation took its stead, which was, in essence, a return and remodeling of a formulaic traditional ethics and a mode of morality characterized by gender inequality. (iii) Weaving for themselves one after another rosy dream about fame and glory, scholars of the Yuan Dynasty, though would collapse at the first blow in the face of powerful irresistible forces, yet remained superordinate to and dominant over women forever. (iv) The patriarchal system lay at the heart of the evil, for it encaged and fettered women, turning them virtually into beautiful prisoners. Since men and women are naturally inseparable, the system, while putting women in shackles, will inevitably bound men as well; and while bring disaster in on women, it will engender men as well.This study on texts of traditional drama on divorce in the Yuan Dynasty, it is hoped, with works characteristic of the times, may lend a new perspective into the prevailing social situation, genera mental state at that time. To add to it, nowadays, with the development of commodity economy and the deepening of reform and opening up program, consequently with shifts in people's economic status and change in moral values, divorce is as inevitable as it has ever been. In this sense, the cultural connotations hidden behind traditional drama on divorce will shed much light on current understanding of this phenomenon.