Legendary Passion Of The Late Ming Style Concept Study

The object of the thesis is to explore natural passion in the 1ateMing dynasty. Lu tian-cheng divided Chuan Qi operas sisxkinds in ancient times. Qnekind of Chuan Qi operas dealing with the expression of love between males andfemales is termed "Natural passion Chuan Qi".This thesis in divided into three chapters.In the first chapter have discussed the origins and development of love inopera to the Ming dynasty. Before the times of Jia Jing(an emperor of the Mingdynasty), Natura1 passion Chuan Qi operas inherited some importance chinesetradition concepts of love. The writers depicted of young people who strived forfreedom in love and marriage. After Jia Jing times, the operas expressed an evenmore passionate pursuit of natural love, especially in marriage.In the second chapter, I have discussed changes in feelings of love displayedin Chuan Qi operas, In the late Ming dynasty, depictions of natural love weremore direct and expressive. As the common people became more familiar with thesedepiction of natural love, their own aspirations for natural passion increased.The operas expressed an interflow op feeling between men and women, and romanticlove was raised to the highest height very good representation of these is the《Peony kiosk》 (Tang Xian-zu) opera.In the third chapter try to discuss the development in which natural passionarose from social culture. Among these, Some operas carried on the traditionstarted by Tang Xian-zu in 《Peony Kiosk》, Lounding the strength and passion ofromantic love. Others chiefly deaLt with sexual pursuit. Apart from these, Pursuitof love was usually combined with morality in late Ming dynasty operas.