The Study of Chinese Traditional Opera in“The Dream of the Red Chamber”
|Keywords:||紅樓夢;戲曲;戀情;命運;悟;The Dream of the Red Chamber;traditional Chinese operas;love affairs;fate;“Wu”||Issue Date:||2007||Abstract:||
This thesis is based on the main text of “The Dream of the Red Chamber” . Trying to find out the plots of the dramas used apparently or secretly and comparing the function of the traditional operas in the text with the substance or inner spirit in this book. It can be divided into six parts.
The first part of the thesis is the prologue and introduction of this thesis, including the motive of writing, the concerning comments of the early scholars, and the main functions of the quotation from the traditional operas.
The second part focuses on the role the traditional operas play during the process . Caosyuecin describes whether the love affairs of Baoyu and Daiyu or their lives of Baoyu’s 寶玉cingcing and Daiyu’s黛玉 cinbucing, he always derived lots of elements and inspiration from the traditional operas. In XiXiangji 西廂記, the chief characters fell in love with each other at the first sight. And in Mudating牡丹亭, because of the desire and loss of love , Du Li-Niang 杜麗娘was also indulged in the grief and joy coming along with love affair. For Baoyu and Daiyu, that is not only a totally fresh experience, but also a secret tunnel for them to express their slightest feelings.
The third part is concerned with the meaning of the traditional operas shows, including the ups and downs of Jia and every characters’ fortune. The traditional Chinese operas contains the properties of literature and performing. They show the epitome of real life. The author picks up three traditional operas as the presages of Jia’s family, and compares Baisheji白蛇記 to the past, Manchuanghu滿床笏 to the present and Nankeji南柯記 to the future. It reveals the sense of helpless of human beings, who cannot escape from the regulations made by the unknown dominator and criticize the Jia’s family who never think of being prepared for danger in times of peace. All those female characters’ life in Jiafu賈府 is the struggle between will and fate. Even though they try their best to compete for a better life, the destined fate make their efforts become sarcasms.
The forth part tries to find the connection between the traditional operas and the reason why male character choose“chujia”出家as his final choice. Handanji邯鄲記 and nankeji mean that it is hard for human to give up pursuing prestige and voluptuousness. Even we can abandon the desire of fame and wealth lightly, the desire of voluptuousness is rooted deeply in human’s nature and impossible to get rid of it. Therefore, after Bayou go back to QingGengFong青埂峰 and turn back to the stone with those experience in the human world inscribed on it. Baoyu’s significant“chanwu”禪悟 was inspired by Shanmen山門, because of the similarity in nature between and Baoyu. Lu Zhi-Shen魯智深 is“zisewukong”自色悟空；however, Baoyu is “youqingzhuankong.”由情轉空Actually, going back to Mt. DaHuang大荒山 is the last choice for the stone.
The fifth part focuses on the role played by the dramas in the clan’s family. Appreciating traditional dramas is a crucial part of their daily life in Jia’s family, and it is also the common feature among the clan’s family during the end of the Ming dynasty and the beginning of Ching dynasty. Just as Zhang Dai張岱 , a man who had similar background with Cao Xue-qin曹雪芹 , recorded the same plots which is interlinked with “The Dream of the Red Chamber” in the book, Tao－An Meng Yi陶庵夢憶 . Although most of the traditional operas we can also find in other literary works, the book depicts in detail how the traditional operas become a indispensable part of their lives, such as their daily conversation or the literary creations the made. This distinguishing feature is merely seen in other novels, and also a unique part worth studying. The sixth part is the conclusion of the thesis.
|Appears in Collections:||中國文學系|
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