By Yumin Ao
This publication is a learn of the thematic, narrative, and musical constitution of Yuanqu xuan [A choice of Yuan performs] variation of the Yuan zaju (variety play) Dou E yuan [Injustice to Dou E] initially composed via the extremely popular playwright Guan Hanqing (fl. 1260). even though different authors have studied those 3 points of Dou E yuan individually, this is often the 1st finished therapy of the subject as a scholarly monograph in English. Yumin Ao’s research relies at the variation of the play within the Yuanqu xuan [A collection of Yuan performs] compiled through the Ming writer Zang Maoxun (ca. 1550-1620). Ao proposes that Dou E yuan, as a dramatic narrative which develops via its enactment at the degree instead of through verbal presentation as a narrative, monitors its integrative constitution of narration via its thematic improvement and inside its musical conventions.
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Additional info for A Study on the Thematic, Narrative, and Musical Structure of Guan Hanqing's Yuan Zaju, Injustice to Dou E (Currents in Comparative Romance Languages and Literatures)
Wang Guowei: The Foundation of Modern Theatrical Theory Wang Guowei was an early critic of traditional Chinese theatre. It was Wang, as a Chinese scholar, who initially introduced the discourse of nineteenthcentury Western philosophy into the study of Chinese dramatic criticism. Like many Chinese scholars in his time, Wang first came into contact with Western philosophical works during a sojourn in Japan, which he had visited from 1901 to 1902.
28 The Ming scholar Wang Shizhen 王世貞 (1526–1590) made a similar point to that of Zhu Quan in the Qu zao 曲藻 [Language of Drama], in conjunction with the criticism of Xu Fuzuo 徐複祚 (1560–ca. 1630) in his Qu lun 曲論 [On Drama]. Both of them tentatively ascribed the last four additional acts of the Xixiang ji 西廂記 [The Romance of the West Chamber] to Guan Hanqing. Wang and Xu echoed Zhu’s remarks and indicated that the language style of Guan Hanqing was not resplendent and refined. The contemporary literati in the Ming dynasty thus determined what was regarded as literary elegance.
Guan Hanqing was a landmark figure in the history of traditional Chinese theatre, and was as significant in his own way for Chinese drama as Shakespeare was for the history of English theatre. But we must also note that many basic details of Guan Hanqing’s life are disputed, and we do not have any original play scripts of Dou E yuan written by Guan Hanqing himself. Guan Hanqing’s plays were mutable, dramatic products enacted on the stage and written in various versions. The earliest GMJ edition of Dou E yuan appears to have been based on play scripts from the Ming imperial archives, as were other commercial editions.