The Research Of Creations In The "Zi Kuang" Dramas Of The Qing Dynasty

The literatural tradition of Zi Kuang began from Ming dynasty to penetrate intooperatic creation and gradually developed into one distinctive creation thought andmethod. Zi Kuang featured opera indicates one type of operas in which writersconsciously integrate their own experiences, characters, ambitions into people storiesdescription. From Mid Ming Dynasty to End Qing Dynasty,“Zi Kuang” featuredopera creation had been continuously sustained with lots of works coming out andbecame one of the important phenomenons in Ming and Qing Opera. Academiccircles have some researches on individual Zi Kuang operatic cases but fewmonographic researches. At present,except one special masterate thesis on Ming ZiKuang opera, the whole Qing Zi kuang opera research remains untouched. Thus, thisarticle takes Qing Zi Kuang featured opera as systematic observation and studyobject.There are42writers with56“Zi Kuang” operas in Qing dynasty. According totheir features, Qing “Zi Kuang” opera can be divided into three stages ‘Early QingStage, Mid Qing Stage and Late Qing Stage’.“Zi Kuang” operatic works at eachstage have close relationships with social circumstances and personal experiences atthat time.Zi Kuang Operatic creation under social upheaval can present writers’ responseson social changes very best. Times Shifting brings strong shocking and upset on earlyQing scholars. Typical Writers like Wu Weiye, Ding Yaohang, Huang Zhouxing andYou Tong express their various miseries and complex minds of sufferings, perplexities,engagement through “Zi Kuang” operas. End Qing writers like Zheng Youxi, LinShu and He Liangpu living through state of flux reflecte their own experiences andthoughts in works creation and truly documented activities of ‘Taiping Rebellion,Gengzi Incident, Chinese Boycotts’, which possesses apparent documentary features.Chinese traditional political system was greatly consolidated in Qing dynasty andextremely made its functions to keep the country in peace for a long time, exceptthoes scholars. Qing “Zi Kuang” operatic works deeply present scholars destinies and mental state under the continuation and consolidation of traditional system.Typical writers like You Tong, Ji Yongren, Jiang Shiquan, Ma Shijun integrated theirexhausted experiences and sufferings on imperial exemptions and criticized thedrawbacks in their works. Living in the control of monopoly and repressiveness,scholars born painful torturings, both physically and mentally. Cheng Ying was exiledin literary inquisition and expressed his opposition on repressive policies andgovernors in the legend of Long Shajian. In ‘Lin Chuanmeng’, Jiang Shiquan fabledhis poor experiences in officialdom and intensive political participating and obscurelycriticized dark politics. In Qing dynasty, a few scholars alienating from monopolisticpolitics displayed their detestedness of officialdom and enjoyment of worldly life intheir works. For instance, character in ‘Lian Xiangban’ from Li Yu metaphorized hisharmonized marriage and ‘Die Ying Kuai Ji’ from Qiao Lai is not only a summary ofhis offical career and dark politics but a sign of alienating monopolistic politics andembracing new life.Ever since Ye Xiaowan in Late Ming dynasty, Qing dynasty saw a group offemale opera writers. Their creation show evident “Zi Kuang” features.5talentedwomen of Wang Jun, Wu Zao, Gu Taiqing, He Peizhu and Liu Qingyun created8“ZiKuang” featured operatic works and represent new development of ancient femaleliterature. He Peizhu described her confusion on marriage life and missing onneighboural female friend and portrayed women circumstances and personalappealings in ‘Li Huameng’ and even, Wang Jun dissatisfying with his feminitysought to become a man in ‘Fan Huameng’. Liu Qingyun in ‘Huang Bi Jian’delivered her thoughts of reliving the county and consoling the people, whichembodies female social care. Female“Zi Kuang”writers use methods of ‘Ni Nan’,‘Painting’ and ‘Fairy’ to mould ‘Zi Kuang’ images and produce different features frommale writers.The artistic forms of “Zi Kuang” opera in Qing dynasty change with the wholedevelopment of opera and owns their unique characteristics at the same time. Amongthe Qing dramas, there are a lot of playlets with various lengths,‘wedges’ in somedrama vanishing and singing techniques more flexible after opening and ending poems absorbing the system of Legend. The lengths of “Zi Kuang” Legendgradually grew short and a few of “Zi Kuang” Legend made innovations onstructure, characters and musicial system, particularly the using of ‘Ni Nan’ causingoperatic roles changes in some female“Zi Kuang”works. Most“Zi Kuang”operasinclude corresponding plot structure of frustration and compensation for the writers’purpose of self-comfort. The moulding of scholar images become an import way forwriters to express themselves. They usually force operatic characters to sport onbehalf or for them to elicit emotions.