The Evolution of the Theory of Language and Prosody of Chinese Traditional Opera in the Ming Dynasty
Resource
臺大中文學報, 20, 135-194
Journal
臺大中文學報
Journal Issue
20
Pages
135-194
Date Issued
2004-06
Date
2004-06
Author(s)
Abstract
In this essay. "language" in the "theory of language and prosody" designates the arrangement of words, the rhetorical skills, and stylistic features while "prosody" refers to rules for the tunes, the manner of connection , and the ways to identify musical scores and compose words, an discern musical tones and rhyme. The essay, which is a continuatio of the former one, "An Analysis of Zhou Deqing's Theory of Language and Prosody for Northern Sanqu and Zaju" (Chinese Studies, 22.1 [June 2004]), discusses the development and evolution of the theory of language and prosody of Chinese traditional operas in the Ming dynasty. It is divided into four parts. Part I examines the construction and inheritance of the "embellishment of language and perfection of prosodic rules" (wen lu shuang mei) of northern sanqu and zaju; Part II analyzes the divergence and variation of language and prosody of southern sanqu and zaju; Part III dwells on the varying degrees of emphases on language and prosody of southern and zaju; and Part IV investigates the regression and unification of "embellishment of language and perfection of prosodic rules" of southern sanqu and zaju. The essay tries to deal with several controversies in the history of criticism of Chinese traditional operas: one is the dispute between language and prosody, another concerns the debate of Tang and Shen, and the third is the argument between natural language and paralledl couplets. From such a discussion, the author has obtained quite a significant result and insight. The "embellishment of language and perfection of prosodic rules," established by Zhou Deqing, became the important principles of appreciation and theory of literary creation for such critics as Zhong Sicheng and the like. From the early Ming dynasty to early Wanli period, Wang Shizhen's position was taken as an initial stage of the evolution of the theory of language and prosody . From this stage, the relation between language and prosody started to have divergence and variation. In the middle Wanli period, Tang Xianzu and Shen Jing put different emphases on language and prosody respetively. They both paid much attention to language and prosody: while Shen Jing strictly observed artificial prosody, Tang Xianzu flexibly. They both paid much attention to language and prosody: while Shen Jing strictly observed artificaial prosody, Tang Xianzu flexibly adapted himself to different styles without restricting to artificial prosody. Again, while Shen did not follow the style of embellishing language in disregard of the rules of prosody, Tang did not specifically emphasize the rules of prosody except the style of embellishing language. In the late Wanlin period, Wang Jide and Lu Tiancheng advocated regressing the "embellishment of language and perfection of prosodic rules," established by Chou Deqing, by means of the integration and unity of "embellishment of language and perfection of prosodic rules." The essay also clearly grasps the historical factors and interior meanings of the debate between natural languages and parallel couplets through an exploration of the evolution of the theory of language and prosody of Ming-Qing traditional operas. The debate was closely linked with the theory of language and prosody at different levels. The author also brings up the idea of Wang Jide 's "the exreme differences between prosody and language" (cifa liang shan qi ji), established by Zhou Deqing. Since te rising and declining of all kinds of traditional operas and the esthetic concepts of language art were different. the references resulted in the divergence and variation or different emphases on language and prosody. Basides, Wang Jide reestablished the theory of language and prosody of southern sanqu and zaju respectively discussed in all chapters of his book, The Prosody of Operas (qu lu). Furthermore, Li Yu of the Qing dynasty, addressed the six elements of creating Chinese traditional operas in the sections on ci and qu of his book, Expressing Free Mood Occasionally (Xian qing ou ji). The six elements are the arrangements of ideas (jie gou), literary grace of language (ci cai), prosody (yin lu), aside and dialogue (bin bai), comical language (ke hun) and regular pattern (ge ju). The juxtaposition of literary grace and prosody is obvious to perceive not only the inheritance and unity of the theory of language and prosody, but also more rigorous and complete establishment of theory.
Subjects
文律
本色派
駢儷派
湯沈之爭
音韻格律
語言修辭
Language and prosody
Wen lu
The school of natural language
The school of parallel couplets
The debate between tang and shen
Prosodic rules
Embellishment of language
Type
journal article
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