中國文哲研究集刊
第七期
目 錄
Number 7 September 1995
|
A Study of the Fragments
of the Copied Version of The Dream of the Red Chamber as
Preserved in the Ch'üan-Wo T'an-Hung |
Chow Tse-tsung |
| Wang Hsiang-ch'i and Hunglou
Meng |
Liu Ts'un-yan |
|
The Theories of Self
Creation and Mystical Unification in the Philosophy of Kuo Hsiang |
Tai Lian-chang
|
| The Basic Principles and
Viewpoints about Symbolic Art in Lu Xun's Literature |
Xi Ming-zhao
|
|
Punishment and Salvation:
A Study of the "anished-Immortal" Structure in Jing Hua Yuan
|
Li Feng-mao
|
| Kant's Concept of History |
Lee Ming-huei
|
|
A Thematic Study of Liu
Qingyun's Dramatic Works, Xiao penglai xianguan chuanq |
Wei
Hua |
|
The Intensification of Thematic Consciousness and Structural Design in
Ming Qing Chuanqi Drama |
Wang Ay-ling
|
《犬窩譚紅》所記《紅樓夢》殘鈔本辨疑
周 策 縱
提 要
吳克岐於一九二○年代所著《犬窩譚紅》一書中宣稱，於民國元年在南京舊書攤上購得《紅樓夢》殘鈔本一部，錄出數百條與通行本不同之處，認為皆優於通行本。吳氏此書手稿藏於南京圖書館。一九八六年揚州古籍刻印社已據以影印出版。但未引起讀者及紅學家注意。本文作者認為吳氏所記之本應為前八十回鈔本。其大部分異文的確勝於其他各本；故事情節及描述技巧往往較他本周到、合理、而生動。如黛玉初進賈府曾與寶玉同住一處多時，丫鬢彩雲、彩霞之名不曾混淆，元妃省親遊覽大觀園時曾新臨櫳翠庵見到妙玉，寶釵並未聳恿襲人掩瞞等，皆較為適合情理。且指明寶玉生日為四月十五日，均為他本所無。其他優勝之處尚多。吳氏或普通讀者、評者似不易偽撰。惟吳氏於殘鈔本之情況幾無說明，其真實性不能不令人懷疑。作者認為此殘鈔本之下落如何，及其真偽問題，紅學家不應置之不理，宜作進一步之調查與小心考證，以備採擇。
A Study of the Fragments
of the Copied Version of The Dream of the Red Chamber as Preserved in the Ch'üan-Wo
T'an-Hung
Chow Tse-tsung
In his Ch'üan-wo T'an-Hung (Talks of the Red in a
Doghouse) written in the l920's, Wu K'e-ch'i said he bought a fragmentary copied version
of The Dream of the Red Chamber from an old-goods counter in Nanking in l912. He
quoted several hundred passages from these fragments which he declared were better and
more accurate than the corresponding passages of the current popular printed versions of
the novel. Although Wu's book had been published in 1986, no one scholar seems to have
paid due attention to it. This author cited a number of cases to prove that the fragments
are really superior to all other editions. Some details also only exist in this version,
such as that it mentions Chia Pao-yu's birthday as the l5th day of the 4th month; the
maids' names Ts'ai Yun and Ts'ai Hsia are not mixed up as are in other version. The author
suggests that Wu or a common reader or critic may not have been able to forge the
fragmentary copied version, albeit Wu failed to provide a detailed account of the
condition of the fragments that he supposedly had bought. At any rate, its authenticity
should be carefully studied.
Keywords:
Red Chamber Dream (Story of the Stone ) copied version plot narration
王湘綺和《紅樓夢》
柳 存 仁
提 要
王湘綺 （闓運，1832-1916）是晚清到民國初年的一位很特殊的振奇人。他是文學家，經學家，和政治也有很深切的關係。在文學上他代表研究唐代以前的典雅絢麗的駢偶文字，個人寫作的風尚也是漢魂六朝。他提倡今文，主張公羊學，基本地影響了清末的經學風氣，也開了廖平、康有為這些人的思路。在政治上他又是曾國藩的門生、幕客，也和李鴻章、郭嵩燾、張之洞以至袁世凱這些人有很密的友誼，有資格替他們畫策，可以說又是一位著名的策略家。他的活動約從太平天國變亂的時期起，直到民國初年。
這篇論文特別提到他的婚姻和男女關係，在當時的社會裏，也是很不尋常的。他初娶蔡菊生，兩人間雖沒有很濃烈的愛情，菊生和他相偶三十八年，也為他生了四男四女。他結婚後不多年曾去廣州，在那裏他納了莫六雲做妾。六雲是個很可憐的廣西女孩子，在戰亂中曾遭擄劫、姦淫、拐賣，最後才被湘綺贖出了火坑。湘綺極喜歡她，兩人愛情很篤，不幸六雲又早死了。在（湘綺樓日記）裏曾記湘綺在夢裏自誓要生生世世和六雲做夫婦，不管菊生那時候在旁邊瞪著眼看他。
多情並且弛蕩不霸的湘綺還有許多別的女子，都和他有不尋常的關係。這些人主要地是他家庭裡僕婦，有的是寡婦，有的丈夫還一起在他家中服役。王湘綺這裡複雜的情愛生活是很不簡單的。他受過《紅樓夢》這部小說很大的影響。即使在他的晚年，《日記》裡也常常自比做賈寶玉，有時候又比做林黛玉。他對《紅樓》的了解是值得人們尋思的。《日記》裡他曾記過兩首他模仿曹雪芹作的律詩，自云「絕似曹雪芹，亦自得意」，這種話也是一向自負的湘綺老人不容易這樣說的。
Wang Hsiang-ch'i and Hunglou
Meng
Liu Ts'un-yan
In modern Chinese history, Wang Hsiang-ch'i 王湘綺 (formal name
K'ai-yun 闓運，1832-1916) was an eccentric yet important scholar and man of letters. He
was an expert in the study of the pre-T'ang classical poems on which he modelled in his
own writings with great success. His theory expounding the hidden meanings in the
Ch'un-ch'iu Chronicle (722-481 BC) upheld by the Confucians of the Kung-yan 公羊 School
in Han time had served as catalyst to the researches carried out by Liao P'ing 廖平
(1852-1932) and K'ang Yu-wei 康有為 (1858-1927) of the late Ch'ing. As a disciple of
Tseng Kuo-fan 曾國藩 (1811-1872) and friend of Li Hung-chang 李鴻章 (1823-1901), Kuo
Sung-t'ao郭嵩燾 (1818-1891), Chang Chih-tung 張之洞 (1837-1909) and Yuan Shih-k'ai
袁世凱 (1859-1916) he also played an important role in politics, for he was a
brain-truster to them. In short, his activities spread over a long period from the time of
the T'ai-p'ing Rebellion till the early days of the Republican Era.
However, as Hsiang-ch'i was romantic and unruly in nature, he had a rather
chequered marital life. He was married to Ts'ai Chu-sheng蔡菊生, the woman he didn't
really love, who gave birth to his four sons and four daughters and died in 1890, after
thirty-eight years of relationship. At much earlier time in 1864, when Hsiang-ch'i was in
Kuangchou (Canton) he took as concubine Mo Liu-yun 莫六雲, a slave-girl who was a
victim of kidnapping and rape during the unprecedented catastrophe of civil war and had
become a prostitute. True love was engendered between them since Liu-yun was admitted into
the family, and Hsiang-ch'i's love for her was so great that he pledged repeatedly in a
dream, as recorded in his Diary (1887), two years after Liu-yun's untimely death,
that he "would happily take her as proper wife in [his] next incarnation" while
watching by his sulky wife, Chu-sheng.
Besides Chu-sheng and Liu-yun, Wang Hsiang-ch'i had a number of women with whom
he had illicit connection, many were in his household service. They were in general
married women or widows, some of the husbands were his servants. Developing his remarkable
love-taste from the novel Hung-lou Meng 紅樓夢 (The Story of the Stone),
Hsiang-ch'i, even at his advanced age, often compared himself to the hero in the novel,
Chia Pao-yu, or to Pao-yu's lover, Lin Tai-yu, and vividly described his own emotional
outbursts and extravaganza in his Diary, cherishing it into a personal philosophy. There
is on need to say that he was also a great admirer of Ts'ao Hsueh-ch'in 曹雪芹
(1715?-1763), the Han-bannerman author of the novel. Two poems Hsiang-ch'i composed after
Ts'ao's style included in his diary, The Hsiang-chi' Lou Jih-chi 湘綺樓日記,
was considered proudly by himself as literarily very much akin to the original.
Keyword:
Wang K'ai-yün Hsiang-ch'i Lou Hung-lou Meng
Women in Ch'ing dynasty concubinage
郭象的自生說與玄冥論
戴 璉 璋
提 要
「自生」與「玄冥」這兩個觀念，並非郭象所首創，但是郭氏賦予新義，並且以此為核心發展出自成體系的本體論、宇宙論與工夫論。我們從這裡著眼，對於郭氏的思想及其在魏晉玄學發展史上的意義可以有較明確的認知。
筆者從哲學史的角度來探討郭氏著作中「自生」
與「玄冥」的義蘊。發現郭氏的「自生」義本於他對「自然」的體認。他揭示了
「自然」 的自動、純素與自足性，相應於此，他的「自生」
也著重於無主、獨化與無待義。這就構成一套本體論、宇宙論，可據以對治當時思想界貴無賤有及票有棄無的一些論調。郭氏的「自生」說，蘊含一套「無心玄應」
的工夫論。 無心玄應』
所體男的境界即為「玄冥」，郭氏在這裡上契老子「無為而無不為」
的玄義，論述以不治治之的治道]及「所遇斯乘」遊於無窮的逍遙。
從郭氏的「自生」說與「玄冥」論，我們可以看出郭氏對於老、莊的玄理實有相應的了解，而對玄學家們貴無、崇有的議論也有積極的回應。他在繼承傳統思想、因應時代問題方面所展現的睿識，是值得肯定的。
The Theories of Self
Creation and Mystical Unification in the Philosophy of Kuo Hsiang
Tai Lian-chang
Kuo Hsiang did not invented the Concepts of "Self Creation" (tzu-sheng)
and "Mystical Unification" (hsuan-ming), but he imparted them with new
significance, and made them the core concepts from which a system of ontology, cosmology,
and theory of cultivation are elicited. From this angle, we may have a clearer insight of
the thought of Kuo Hsiang and its significance in the history of the Wei-Chin Hsuan
Hsueg philosophy.
Studying the implication of the "Self Creation" and "Mystical
Unification" in Kuo Hsiang's writings, the author finds that Kuo's definition of
"Self Creation" is based upon his understanding of "Self-being-so" (tzu-jan).
As he drew out of "Self-being-so" the implication of self-movement,
unembellishment, and self-sufficiency, so his "(Self-Creation" suggested the
meaning of without-a-master, transformation by itself, and no-reliance. Based upon
"Self Creation", his ontology and cosmology is able to refute both thoeries of
"Preferring Nothing to Something" (Kuei-yuchien-wu) and of
"Preferring Something to Nothing" (kuei-wu chien-yu) in those days. Kuo
Hsiang's theory of "Self Creation" also implied the theory of cultivation of
"Mindlessly Mystical Response" (wu-hsin hsuan-ying). The state
exemplified by "Mindlessly Mystical Response" is "Mystical
Unification." At this point Kuo Hsiang inherited Lao-tzu's theory of "doing
everything by doing nothing", and developed the political theory of "ruling by
not ruling", as well as the life style of "riding on everything encountered in
order to wander freely in the unlimited world.
From Kuo Hsiang's theories of "Self Creation" and "Mystical
Unification", it is right to say that he had a real understanding of the philosophy
of Lao-tzu and Chuang-tzu, and that he had a clear response to the theories either of
"preferring Nothing" or of "Preferring Something" by the Hsuan Hsueh
philosophers. It should be acknowledged that he had wisdom both in inheriting tradition
and in managing problems of his time.
Keywords:
Kuo Hsiang Self-being-so (tzu-jan) the way (tao)
Self Creation (tzu-sheng)
Mystical Unification (hsuan-ming)
The annotation of Chuang-tzu
魯迅文學中的象徵詩學
夏 明 釗
提 要
魯迅創作象徵作品的時間簡直貫穿了他全部的文學道路。文章全面檢討了魯迅作品的特色，系統梳理了魯迅有關象徵藝術的文學批評，並從二者的結合上初步勾勒了魯迅象徵詩學的基本精神和重要特點。文章認為，魯迅象徵詩學貫穿了三個基本見解，體現了三個重要特點，即：荒誕變形（心理變形、人體變形、性格變），神秘幽深（夢幻、傳說、寓言、箴言），彈力暗示（意象隱喻、意象轉換、彈力暗示）。文章依據魯迅的象徵詩學觀，重新解釋了魯迅的許多作品、尤其是他的代表作品；文章認為，突出體現了魯迅象徵詩學觀的魯迅的象徵作品是作家對新文學的傑出貢獻；進一步研究魯迅文學中的象徵詩學，對於當代文藝發展，肯定將有所裨益。
The Basic Principles and
Viewpoints about Symbolic Art in Lu Xun's Literature
Xi Ming-zhao
The time of Lu Xun's creation of symbolic works almost penetrates his
whole literary way. This article checks and inquires into the features of Lu Xun's works
comprehensively, sorts out Lu Xun's literary criticism about symbolic art systenlatically,
and gives a brief account of Lu Xun's basic spirit and important characteristics of his
basic principles and viewpoints about symbolic art initially from the com bination of the
above-mentioned two sides. The article thinks, that Lu Xun's basic principles and
viewpoints about symbolic art penetrates three basic concepts, reflects three important
features, that is: fantasy caused by deformation (psychological deformation, body
deformation, character deformation), mystery and profundity (illusion, legend, allegory,
admonition), elastic suggestion (image metaphor, image transfer, elastic suggestion).
According to Lu Xun's basic principles and view points about symbolic art, the article
interprets many Lu Xun's works again, especially his masterpieces; The article thinks,
that Lu Xun's symbolic works which embody his basic principles and viewpoints about
symbolic art prominently are the writer's outstanding contribution to the new literature;
It will be of great benefit to the development of the contemporary literature and art that
we research Lu Xun's basic principles and viewpoints about symbolic art furthely.
Keywords: symbolism symbol realistically symbolic writing
reason fantasy caused by deformation
mystery and profundity image elasticity
suggestion
罪罰與解救：《鏡花緣》的謫仙結構研究
李 豐 楙
提 要
李汝珍在創作《鏡花緣》時，使用了道教的謫仙神話，不僅產生了類似傳統小說的「楔子」作用，更是整部小說的「結構」
。由於百花仙子及百花仙誤犯了「不應時節不能開花」的天條，從仙境被懲罰貶降到人間，這是由天星心月狐降生的武則天所下的詔詩。因此百花仙子所降生的唐小山需要負責團聚流落到外域、十道的諸花仙，而武則天也以恩開女試來團聚百位花仙。在這一神話間架中，前半部的海外歷險、後半部的齊赴長安應試，都成為推動情節發展的主力。等百位仙子齊聚宴遊之後，小說就進入「散」的結局。李汝珍有意採用「模式化」的寫法，讓女主人翁經歷磨難而後才能完成聚集流散的仙子的任務，這種情節發展完全是呼應著
「謫譴」的神話主題。它是中國長篇小說的主要結構模式，反映了民眾的宿命論式的宇宙觀和人生觀，這是一種民族文化心理，通俗小說對於這種文化心理具有深刻的反映。
Punishment and Salvation:
A Study of the
“Banished-Immortal” Structure in Jing Hua Yuan
Li Feng-mao
In writing Jing Hua yuan, Li Ruzhen employs the Taoist
banished-immortal mythology which not only functions as "prologue" (xiezi)
of the traditional fictions. but also manifests the "structure" of the whole
work. The fact that the Baihua goddess and Baihua fairies were banished to the human world
from heaven because they violated the heavenly law of "timely blossoming" is
disclosed in the imperial edict from Empress Wu Zetian who herself is the banished
immortal Tianxing xinyuehu. As a result, Tang Xiaoshan, the banished Baihua goddess, has
to reunite one hundred flower fairies wandering destitute in foreign countries and the ten
ways (shidao). In the meantime, Empress Wu Zetian bestows the favor of
"permitting women taking imperial exam" to make one hundred flower fairies
reunited. In this mythologial structutre, both the overseas adventures occurring in the
first half of the novel and the imperial exam Participation in the second half become the
motive force to promote the development of plot. After one hundred flower fairies are
reunited, the novel reaches the denouement of "scattering" (san). Li
Ruzhen intentionally adopts a kind of "modelled" writing technique to let the
heroine experience lots of hardships and accomplish the task of reuniting the scattered
fairies. The development of plot totally coincides with the mythological theme of
"banishment." As the main structural mode of Chinese novels, the above
"banished-immortal" stucture reflects the fatalistic cosmic concept and outlook
on life of Chinese people. This is a kind of cultural mentality of the nationalities which
the vanacular fictions have described profoundly.
Keywords:
Jing fua yuan punishment salvation
banished-immortal mythology
康德的「歷史」概念
李 明 輝
提 要
在康德底整個哲學系統中，其歷史哲學一向為學者所忽規，因為他們往往認為康德哲學是非歷史的，因而無法處理歷史底問題。此外，由於其歷史哲學底特性，它也常被視為過渡到黑格爾、乃至馬克思底歷史哲學的橋樑。依據康德底「歷史」
概念，人類在歷史底進程中不斷地趨向於其最終目標---永久和平。因此，康德底人類史可以預示未來，並且預設目的論原則。這些特性使人很容易將其歷史哲學與黑格爾、馬克思底歷史哲學視為同一型態，而一併歸諸歷史決定論。
本文旨在說明康德底「歷史」概念在其整個哲學系統中的意義與地位，尤其著重於它與其他部分之間的一貫性，藉以凸顯其歷史哲學與黑格爾、馬克思底歷史哲學之根本差異。筆者認為：這種差異非但不表示康德歷史哲學之不成熟，反而顯示出其優點。
Kant's Concept of
History
Lee Ming-huei
In the study of Kantian philosophy, Kant's philosophy of history is
probably the most neglected branch. As Kant's philosophy is often viewed as
ahistorical, it is therefore considered not apt for dealing with the problem of history.
Furthermore, certain characteristics of Kant's𠏋 philosophy of history render it to be
seen as a passahe leading to Hegel's philosophy of history and even to Marx's.
According to Kant's concept, human history is an unending process of nearing its
final destination, that is, the perpetual peace. History, therefore, anticipates human
future and presupposes teleological principles. Due to characteristics like this, Kant's
philosophy of history tends to be interpreted as akin to that of Hegel and of Marx and
grouped as part of historical determinism.
This study intends to clarify the position as well as the significance of Kant's
philosophy of history in relation to the totality of his system, with an emphasis on its
consistency with his other thoughts, and thereby to highlight the fundamental differences
between Kant's𠏋 philosophy of history and that of Hegel and Marx. What these differences
reveal, are the strengths rather than insufficiencies of his philosophy of history.
析論劉清韻《小蓬萊仙館傳奇》之內容思想
華 瑋
提 要
中國古典戲曲研究中，有關女作家作品的分析頗為罕見。筆者為彌補此一不足，乃針對晚清劉清韻十種劇作總集《蓬萊仙館傳奇》首度進行了內容思想的仔細研討。本文包含兩大部分：第一部分討論「才子佳人戲---折衷於統和現代之間的女性、愛情與婚姻」，第二部分討論
「仁人志士劇---傳統道德與現代精神之兼容並蓄」。在劉氏之才子佳人戲中富有特色的情節單元：（一）不違父命的婚姻自主，（二）一夫多妻制的困惑，以及（三）傳統性別角色、定位的背離與回歸，實以折衷委婉之方式表達出女作家之女權與兩性平等的意識。而在劉氏之仁人志士劇中重覆出現之二種母題：（一）濟世安民與適性陶情的徬徨，以及（二）等級的界限與跨越，則反映出女作家在尊崇傳統道德的同時，亦具有個性解放與階級平等的現代思想。
總而言之，劉清韻在《小蓬萊仙館傳奇》裏反覆質疑中國傳統的性別與階級意識，召喚兩性與社會等級間之平等互愛。由此可見出晚清維新時期之時代精神。然或因其性別、性格、教養，及其社會邊緣的位置，劉氏在作品裏所發出的呼聲並非激烈抗爭的
;而是帶有調和折衷的特性。劉清韻劇作的整體思想風貌，可說是在傳統和現代之間「荷戟獨徬徨」。
A Thematic Study of
Liu Qingyun𠏋 Dramatic Works,
Xiao penglai
xianguan chuanq
Wei Hua
In the study of classical Chinese drama, little research has been done on
women playwrights and their works. To make up for this lack, I have undertaken a
first-time, close thematic study of the ten plays written by Liu Qingyun, a gentry woman
of the Late Qing. My article consists of two main parts: first, on Liu's caizi-jiaren
( talented scholar and beautiful maiden ) drama: women, love, and marriage both
traditional and modern. Second, on her renren-zhishi ( humane an and high-minded
hero ) drama: traditional virtues and modern consciousness. Liu's caizi-jiaren
plays are characterized by these motifs: (a) women's own choice of mates with
fathers' support, (b) problematic polygamy, and (c) breaking away from, before
reassuming, traditional gender roles and positions. By way of indirect suggestion, and not
overt opposition, the authoress conveys her ideas of women's rights as well as the
equality of the sexes. Prominent in Liu's renren-zhishi plays are two
recurring motifs: (a) conflict between national service and personal enjoyment, and (b)
the crossing of class boundaries. These motifs suggest that Liu, while upholding
traditional virtues, holds the modern view of the liberation of the self as well as the
equality among classes.
In all, Liu Qingyun in her Xiao penglai xianguan chuanqi repeatedly
calls into question traditional gender and class consciousness. She calls for love and
equality between the sexes and among social classes. In this sense, her works reflect the
spirit of her time, the Reformist era of the Late Qing. Perhaps because of her gender,
character, education, family upbringing, and her marginal position in society, Liu's
voice in her works is seldom intense or militant, but soft and reconciliatory. Her
drama as a whole represents the authoress' vacillation between tradition and
modernity.
明清傳奇名作中主題意識之深化與其結構設計
王 璦 玲
提 要
明清傳奇由早於元雜劇的宋元南戲發展而來，在原有南戲體制的基礎上，不僅繼承了元雜劇的種種藝術經驗，而且廣泛吸收各種新的藝術因素，予以進一步綜合性的創造。相較於元雜劇的特重抒情意味，明清傳奇中的敘事部分成為作品的中心主題，因而亦產生了敘事結構中的新要素──即所謂的「情節趣味」（story
interest），而此要素往往能改變「主宰作品思想的完整形式」亦即所謂主題結構。傳奇之確認情節結構之重要性，正是基於戲劇藝術的「再現性」，而把情節結構這一再現性的敘事因素提到首要的地位，顯示明清傳奇之「情節趣味」已大為增進，具有與抒情意味相呼應乃至凌駕其上之勢了。基本上，在明清劇作家提昇中國戲曲之「戲劇性」的過程中，明清傳奇「以和為美」的審美意識與明清劇論家之有機整體結構觀是息息相關的。總體說來，傳奇的主題思想具有向心的、和諧的性質，而形式卻是體制龐大，具有高度鋪陳、舒展的特點，其典型的悲、歡、離、合情節結構模式，正是此種向心趨勢、和諧精神的體現。傳奇一本數十出的龐大體制，使得悲、歡、離、合的複雜情節能從容而充分地舒展，而且向全劇情節曲折奇巧與文詞爭奇鬥妍的方向發展。
在傳奇的創作過程中，明清劇作家主題意識之開始覺醒到逐漸深化，促使戲曲結構的有機整體性增強，也刺激作者要求戲曲作品中思想意蘊的完整深刻，使思想意蘊的完滿揭示成為戲曲建構有機整體的一個要項，而呈現完整思想意蘊的要求亦反過來促使劇作家自覺到劇作結構設計所應具有之整一性。因此，本文首先著眼於主題在創作過程中之重要性及其與結構之關係，並透過明清劇論中以「意」與「局」的關聯為焦點的結構觀之探討，進一步分析創作過中敘事主題與表達意念之關聯，以及明清劇作家主題意識之深化歷程；以此為基礎，再進而探討明清傳奇作家主題意識與其創作活動之關係，以及傳奇名作所表達之主題對其結構設計之影響。
The Intensification of Thematic Consciousness and
Structural Design in Ming Qing Chuanqi Drama
Wang Ay-ling
Having develped from Song Yuan southern drama
(Nanxi), Ming Qing chuanqi drama not only succeeded the artistic experience of Yuan
drama on the basis of Nanxi𠏋 theatrical conventions, but also broadly absorbed various
new artistic elements for synthetical creation. Compared with Yuan zaju𠏋 emphasis
of lyrical quality, Ming Qing chuanqi drama𠏋 narrative part becomes the central
motif of a composition. A new factor of the narrative structure is thus introduced, which
is the 𦽳tory interest.?This kind of 𦽳tory interest?changes the entire form of thought
which governs the work, that is importance of plot and structure is due to the 𩂈epresentationality?of
dramatic art. The fact that representational narrative elements like plot and structure
were valued as primary factors in a play manifests the increase of 𦽳tory
interest"?in chuanqi writing, whichis even placed above lyrical interest.
Basically, in Ming Qing dramatist𠏋 pursuit of 𡞫ramaticism?in chuanqi writing,
the aesthetic consciousness of ?harmony as beauty?( yi he wei mei ) in chuanqi
is closely relevant to the dramatic theorists?whole and odrganic structural concept of a
play. In general, while chuanqi tends to emphasize ?hamony?in theme, it is lengthy
in form, which is easily elaborated in complicated details. Chuanqi𠏋 typical
structural pattern?joys and sorrows, partings and reunions..?is realization of this kind
of harmonious spirit. The lengthy form of chuanqi makes the complicated plot of
joys and sorrows, partings and reunions be able to develop completely, and become more and
more fantastic and refined.
In the process of chuanqi writing, the awakening and
intensification of the Ming Qing dramatists?thematic consciousness help the emphasis of an
organic unity of dramatic structure, inciting the dramatists to demand totality and
profundity of thought of a play. The complete manifestation of thought becomes an
important factor for the structure of a play, which also inspires the dramatists to
realize the unity of srtructural design in dramatic composition. In this pater, taking the
analysis of the significance of theme in dramatic writing and its relations with structure
as my point of depature, I have discussed Ming Qing dramatic theorists?structural concepts
which are focused on the correlation between ?I>yi?( meaning ) and 衠u?(structure). By
further analysis of the relevancy of the narrative theme to the original writing idea, I
have also discussed the intensifying process of thematic consciousness in chuanqi drama.
I have then examined the correlation between Ming Qing dramatists?thematic consciousness
and their writing activities, and have finally analyzed the theme expressed in the
masterpieces of chuanqi drama and its influence on structural design in each play.
Keywords: Ming Qing chuanqi drama theme thematic consciousness structure
structural design meaning harmony
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