Four Questions About Pipaji

This article explores four questions: the authenticity of the drama’s beginning with the fumo, the aesthetic connotation of the “Luo qun package soil”, the reason of its narrativeomissions, and the assessment and the analysis as well as its researching concept on the wholeworks.Firstly, beginning with the fu mo has always been an important reference for the researchof Nan xi. However, some contemporary scholars have questioned its authenticity in a seriesof researches, the most representative works is Mr. Hou Baipeng’s the Question of the Story ofthe Lute’s Opening By the Copy of Lu. But each of the five reasons which are raised by Mr.Hou in his books is untenable. This problem stems from the unearthed version of the Thestory of the Lute in Jiajing period. But in the book The Preface of Recreate MuRongBojie theStory of the Lute engraved by Lin, its quotation had already proved that its “opening” hadalready existed in Hongzhi period Ming Dynasty. Still, Nan ci xu lu can also prove that the“opening” is more common to see in Jiajing period. So the discovery of the book in Jiajingperiod can’t constitute any questions. This is not only do good to the conclusion which isbased on the opening, but also provide some inspiration for literature discrimination studies ofits practice.Secondly, compared with “ma qun package soil”,“luo qun” is seemingly contrary to thereal life, but “Luo qun package soil” is its original appearance without any doubt. From theaesthetic connotation,“Luoqun”’s imagery has its unique artistic tradition, often blurred itseconomic characteristics in the specific application. It represents the personality of boudoir. Inthe artistic effect,“Luo qun package soil” can consistent with Zhao Wuniang’s art image forthe whole text, and for the specific situations, the “Luo qun package soil” can produce thestrongest artistic appeal. Then from the contrary, package soil with “ma qun” will not have thethe corresponding aesthetic value. The phenomenon is widespread in the ancient opera. Thisis because the poetic character of the opera art allows some unconventional means of expression in writing. In many classical opera texts, there are some art laws which haven’t tobe dug yet, but this kind of jobs are very important to the summary of the ancient art theories.Thirdly, when comes about the narrative omissions of the The Story of the Lute, thisarticle assumes that the problem is rooted on its time concept. In Gao Ming’s Era, the mainlyrecipient way of the opera art is the stage performance, but the delibrate narration is not theaudience requirement during their appreciation, so the omissions are allowed to exist in theplay. In the middle or late ages of the Ming Dynasty, the written form literary has graduallybecome an important consumption in the form of drama, the new aesthetic requirements andconcepts of the opera followed. Surely it will become contradictions when we use thewritten form aesthetic standards to measure the creation of text in stage performance. Today’sresearch of opera narration is focused on the literary perspective, which is one-sidedinheritance to the path of opera acceptance. The classical opera studies must convert thinkingreasonably, and return its original appearance.Fourthly, the narrative core of the The Story of the Lute is the orientation value of CaiBojie and the life changes of “bigamy Niu”. Working on ethics and getting fame are CaiBojie’s two basic secular values and the power of his behavior. The event of “bigamy Niu”is an unexpected event in life, and it turns Cai Bojie into an unfilial situation, but still notenough to change the value of his life. Under the effect of the one person and one event, theopera will inevitably move towards into its ending like this: one man with two women, then atlast, both of them got the honor. We should get rid of the old political reading mode, restoreits secular appearance, to reach even closer to the artistic truth.