Ming Dynasty Opera Theory Of "reasonable View" Research

This article will study the "reasonable" theory in the drama criticism of the Ming dynasty. This article will make a comprehensive study of this topic on the basis of previous studies for the purpose of understanding the development of the "reasonable" theory in Ming drama criticism in the social, political and cultural context and learning the application of "emotion" in a specific drama creation. This article will be divided into four parts according to JinNingfen’s view.The first chapter,"From early years of the Ming dynasty to ZhengDe period". The first section will analyze the decline of the concept about "emotion" under the rule of the concept about "reason". In the early Ming dynasty, government’s cultural maneuver was severe. Neo-Confucianism’s dominance gradually established, literature on the "emotion" attention at the end of the Yuan dynasty was increasingly being ignored, Yu Qian’s death and growing political corruption had caused scholars’s suspicion of "reason". In the field of poetry, poetic prose reflects the development trends of the concept about "reason" and the concept about "emotion". JianDengXinHua as the representative of novel writing also reflects the rule of the concept about "reason". The second section will analyze the "reason" in the first place in drama of this period. With the harsh drama policy in the early Ming Dynasty, on the one hand, the writer show respect for the "reason" cultural atmosphere, creating the ethical theme, such as Five Cardinal Perfect Mind, on the other hand, with inheritting the Yuan Dynasty drama, they created both moving and "reasonable" works, such as ZhuYoudun’s prostitute drama. In the Drama theory, the interpretation of the enlightenment theory is the main trend.The second chapter,"From JiaJing to LongQing period". The first section will discuss the influence on scholars mentality and culture from development of the Great Ritual and WangYangming’s theory. The Great Ritual shaked the dominance of the "reason" and maked more scholars coming into contact with WangYangming’s theory. It is conducive to the development of the "emotion". The second section will discuss the concept of reasonable tendencies of poetry and fiction field. YangMing’s theory’s increasingly popularity in scholars brings the recovery of the "emotion" of the field of poetry, but in the field of fiction, the novel’s initial prosperity also reflects the weakening of traditional jurisprudence thought during this period. Then we provide an analysis of the transfer of the opera creation focus from the "reason" to "true" and "emotion". BaoJianJi blow the wind about real concerned, triggering the transfer of XuWei opera house "reason" to "emotion" perspective. The third section will analyze the concept of truth in the theatrical theory. Drama theorist in enlightenment thinking based drama theory, XuWei, represented by a discussion of the "emotion", mainly for the "gray theory"The third chapter,"WanLi period". The first section, taking LiZhi for example, discusses the new ideas in the field of humanities, thinking that the contradictions of the new ideas and traditional Confucian affect scholars of this period mentality, but the trend is Li Zhi’s "innocence" make the base of the publicity for individual and "emotion". The second section will discuss publicity of "emotion" in the fields of poetry and fiction, the in effect of the new way of thinking is hard, but disseminated by traditional Confucianism, literature show no objection to the "reason" under the theme "emotion", sometimes even reflect the "reason" having the constraints on the development of "emotion". Then it provides an analysis the trend of theory "emotion" won the "reason" in this period drama, drama theorists explore the meaning of the "feeling" for the rectification of names of "feeling", and creatively explore relationship between the "emotion" and "reason", marking the concept of "reasonable" in the Ming Dynasty opera theory becoming mature. The third section mainly analyzes TangXianzu’s view on "emotion". He does advocate "emotion" while not eliminating "reason". He clearly realized that drama is the boundless universe faithfully. We must objectively look at "emotion" and "reason", His plays mainly express "emotion", while education function is secondary.The fourth chapter,"The end of the Ming Dynasty". The first section puts that under the double impact of real learning in the late Ming and literary innovation thought; scholars have different choice between the "reason" and "emotion". Zhang Dai mainly focus on spiritual portrayal, but his masterpiece also has some image of reasoning and focus on realistic; ChenZilong vigorously advocate gentle tradition of poetry education, but also put forward the effect of the true feelings of the individual writers in poetry. FengMenglong’s naming for the "Three Words" also reflects the influence of two thought on him. The second section will take MengChengshun for example to illustrate creative tendencies of coexistence of "romance" and "statement" in the late Ming Dynasty under the double influence of TangXianzu and Practical Ideology. The third section summarizes the theoretical results of "concept of reasonable" in the late Ming drama theory, thinks that the late Ming drama theorist combine "emotion" with opera art, analyzes the writers attitude to the coming of "emotion" into play and the significance that the "emotion" on the development of the opera story. And also summarize the meaning the "reasonable" theory, including from "emotion" to "reason","reason" limits "emotion" and "emotion" combines with "reason".