Comparison Of Wang Zhaojun Image In Classical Chinese And Japanese Drama

This paper will in classical Chinese and Japanese drama common appeared the image of Wang Zhaojun as the research object, the Yuan drama "Han Gong Qiu" and Noh "Shou-kun" as an example, detailed analysis and comparison of the image of Wang Zhaojun in the Chinese and Japanese classical drama in the similarities and differences, and the combination of both literary tradition and cultural psychology, analyzes the different national cultural differences influence on shaping the image of Wang Zhaojun.The first chapter, briefly combed the Zhaojun story development before Japan drama form birth, through combing can be seen, the story of Zhaojun’s model is constantly mature in the development process Chinese of ancient Chinese literature, and from the ideological content changes gradually, by the mercy Zhaojun bumpy life development as a tribute to her sacrifice one’s personal interests for the country and the nation’s feat, and Japanese classical literature pays more attention to the personal stories of Zhaojun’s tragedy, rarely associated with political themes, maintain Zhaojun soft plaintive image quality. Secondly, from the ways of narration and tragedy form two aspects analyzes similarities and differences between the plot of Yuan zaju "Han Gong Qiu"and Noh "Shou-kun", points out that the two works are the inheritance and development of their respective countries Zhaojun theme of literary creation models.The second chapter, from the clear identity drama clues, reference system highlights the character and deepen the connotation of character image three aspects, combined with the text and stage costume, analysis and comparison of the Yuan Drama"Han Gong Qiu" and Noh "Shou-kun" and the image of Wang Zhaojun in the difference. The two part drama although portrays Wang Zhaojun as having a positive image of the purity of character, but the drama of the Yuan Dynasty,"Han Gong Qiu" pay more attention to the ethical significance of Zhaojun’s image in the society, pay attention to the "good" to highlight her "beauty", to cast himself into a river ending strengthened the character Wang Zhaojun goodness and just; Noh "Shou-kun" is the image of Zhaojun is placed in the family leads, let her in the end as a"human"Avatar, appear with supernatural soul image, to give Zhaojun a quiet and refined "beauty", portrayed to soft to the true image of Zhaojun. In addition, in the third section summarizes the image of Zhaojun in other classical drama in the. Thus it can be found, shaping the image of Zhaojun Zhaojun in the later play mostly followed and developed "Han Gong Qiu" in the image of the elements, and constantly enrich the connotation of the artistic image of Zhaojun; Japanese relates to Zhaojun theme other classical drama mostly part factor image or Zhaojun story intercepted Zhaojun to construct the plot content new, maintain the image of Zhaojun in the Japanese classic literature in weak plaintive style.The third chapter, mainly for the above the two chapter summarizes the image of Wang Zhaojun in the drama of the Yuan Dynasty,"Han Gong Qiu" and Noh "Shou-kun" in differences, this chapter from the drama creation idea and drama producer consumer acceptance two reasons to cause the difference of psychological discourse. Differences between creative ideas mainly come from the tradition of literary creation and literary works when the difference of social environment, Chinese classical opera "difference goodness" creative ideas and classical Japanese drama "love is beautiful" creation concept is the fundamental source between the different character of the image of Wang Zhaojun in the drama reflects between the Yuan Dynasty and Noh, and face different audience aesthetic, the concept of life and death, is also the important reason of mental image in the heart of drama character building.