"water Margin" Popular Stories (ballad) And Traditional Research To Speak

According to the traditional research method in ancient Chinese literature which combining literature and history, and starting from the problem, the paper has used extensive literature materials with various forms to investigate three-dimensionally and discuss theoretically on the background, the historical features and morphological characteristics about Ping-Hua(Ping-Shu) of All Men Are Brothers. The full text divides into introduction, main text, remaining discussion and appendix four parts. And the main text divides into three parts. The first part is a research on the source and development of Ping-Hua. It is composed of the first chapter and the second chapter, and mainly starts from the literature and focuses on the evolvement of the concept and art forms of Ping-Hua in the historical development process. The second part is a research on the evolvement of Shuo-Hua(story-telling) of All Men Are Brothers. It is composed of the third chapter and the fourth chapter, taking the story of All Men Are Brothers with distinct threads in the art of Shuo-Hua as a case study and putting it in the entire system of Shuo-Hua to make a comprehensive investigation on its evolvement, namely regarding Shuo-Hua(story-telling) of All Men Are Brothers as an independent system and combining with other manifestations of the story of All Men Are Brothers to study it. The third part is a research on the text of Shuo-Hua(story-tell ing) of All Men Are Brothers. It is composed of the fifth chapter, starting at the text level both of the oral Shuo-Hua and the written novel of All Men Are Brothers, to investigate the form of the text of Shuo-Hua, the interacting relationship and otherness between them.The first chapter gets to the name of Ping-Hua, combining with literature, objectively displays the change of its name, meaning, attributes and alleged objects in the historical development process, and strives to create a dynamic and diachronic concept. The word "Hua" of Ping-Hua has appeared in the literature in pre-Qin Dynasty already, but it is a term which belongs to the upper classes of society and its meaning originally refers to the words carrying doctrines. Through a continuous development in Six-Dynasties, accompanying the use of "Hua" from elegant occasion to vulgar occasion, its meaning of story and entertainment features highlighte gradually, and then the word "Shuo-Hua" comes into being in Sui and Tang Dynasties. Further, being the name of story-telling which is a performing art, the word "Shuo-Hua" appeares widely in Song Dynasty. The concept of Ping-Hua appeares and formes in Yuan Dynasty, and the name "Ping-Hua" turns up and the scope of alleged objects continue to expand. On this basis, The concept of Ping-Hua acquires further development and produces some new changes in Ming and Qing Dynasties. Not only the Ping-Hua’s name and meaning divert from colloquialism to commentary, but also its attributes has been changed. During the period of Ming and Qing Dynasties, the alleged objects gradually expand to performing art and novelistic style from the script of story-telling, and consequently the concept of Ping-Hua has double attributes both in the literature and arts. At the same time, the Ping-Hua(平话)in Yuan Dynasty and the Ping-Hua(评话)in Ming and Qing dynasties, which have been developed from the oral history-telling text in Song Dynasty, have an internal consistency. As the expanded connotation and the extension of the Ping-Hua(平话)in Yuan Dynasty, the Ping-Hua(评话)in Ming and Qing dynasties continues to develop. The essential core of Ping-Hua exists from beginning to end in Yuan, Ming and Qing Dynasties, which makes Ping-Hua form a recognizable but complicated system inherited in the historical development.The second chapter reveals to Ping-Hua(Ping-Shu) as a performing art how to inherit, develop and evolve from the former generations by observing the origin and evolution of the oral story-telling. In its historical perspective, before Tang Dynasty it is a stage that the basic elements of the story-telling generate and the essential features begin to take shape.In pre-Qin Dynasty the most basic element of the story-telling has been developed, and it is attached to many kinds of vocal art forms of the blind Men or farce actors in the folk and the upper classes of society. From Han to Sui Dynasty, the blind Men’s vocal performance gradually decline and the farce for entertainment is popular. The farce develops to fiction-telling both having basic element and main characters, which play an important role in the process of the formation for Chinese performance of the story-telling. In Sui and Tang Dynasties, the performance of the story-telling has become an independent art, namely has the name "Shuo-Hua", the performance characterized by talking, the content dominated by story, and some basic performance programs. The rise of Wa-She and Gou-Lan in North-Song Dynasty is a sign of the formation of market for popular culture and entertainment among the populace. As an important performance in Wa-She and Gou-Lan, the art of story-telling in Song Dynasty walks to prosperity together with Wa-She and Gou-Lan. The Wa-She begins to decline but the Gou-Lan has a tremendous growth in Yuan Dynasty. However, the important position in Gou-Lan of the art of story-telling in Yuan Dynasty is displaced by Za-Ju, and only the kind of history-telling continues to develop. The Wa-She decays slowly since Ming Dynasty, and the nature of Gou-Lan changs together, is no longer the main performance space for folk art. During the course of down to the populace, the art of story-telling in Ming and Qing Dynasty gradually become to Ping-Hua and Ping-Shu with some local color, and find the new performance space Shu-Chang to take place of Wa-She and Gou-Lan and reach its second peak.The third chapter selects the story of All Men Are Brothers with inheritance in the art of story-telling as a case study, to investigate the gestation and development of the story of All Men Are Brothers before the novel of All Men Are Brothers spreads widely.The historical background of the story of All Men Are Brothers is in North-Song Dynasty, while the gestation and preliminary formation of the story are in South-Song Dynasty, which represents that some short stories about individual heros gradually converge to a long story about thirty-six heros around Song Jiang. In this part, the study focuses on why the Shuo-Hua of All Men Are Brothers grows up in South-Song Dynasty, what features it has, and the changed conditions by comparison with historical truth. In Yuan, Ming and Qing Dynasties the Shuo-Hua of All Men Are Brothers shows various trends. Not only it spreads to all parts of the country, but different regions have different plot, character, theme and so on, which brings two different systems of the story of All Men Are Brothers and various texts about this story. In this part, the study combining with all types of literature and other expressional forms about the story of All Men Are Brothersin Yuan, Ming and Qing Dynasties, to discusse mainly the situation of spread, the features of development and the otherness between Shuo-Hua of All Men Are Brothers in south and north areas.The fourth chapter investigates the gradual mature and prosperous development of Shuo-Hua of All Men Are Brothers after the novel of All Men Are Brothers has been circulated widely. The novel of All Men Are Brothers comes out around the mid Ming Dynasty which adapted by Luo Guan-zhong and other people from Shi Nai-an’s original (Gao Ru’s Bai Chuan Shu Zhi).The stories of All Men Are Brothers in different regions are stabilized along with the novel of All Men Are Brothers has been circulated widely, because the novel of All Men Are Brothers are well above texts of Shuo-Hua in literature and art. In the late of Ming Dynasty, various expressional forms of the story of All Men Are Brothers have been significantly affected by the novel of All Men Are Brothers, and the Shuo-Hua of All Men Are Brothers being circulated all parts of the country begin to adapt the novel of All Men Are Brothers on the basis of the oral traditional text. Shuo-Hua of All Men Are Brothers matures gradually. In the late Ming and early Qing Dynasty, a famous storyteller Liu Jing-ting appears and extends the influence and the spread of Ping-Hua, accordingly he opens a prelude for the prosperity of Ping-Hua and Ping-Shu in Qing Dynasty. At the same time, Ping-Hua of All Men Are Brothers has gradually matured in the script, the artists and performing skills, and it becomes prosperous along with the constant spread by Liu Jing-ting. In Qing Dynasty,"Ping-Hua" and "Ping-Shu" have gradually become two accustomed names in south and north areas. Furthermore, the art of story-telling in different regions combines with local dialect, which engenders numerous localized subclasses of Ping-Hua and Ping-Shu and shows a comprehensive prosperity. Accordingly, after the development and mature in the script, the artists, the performance, the spread and the acceptance during the middle and late Ming Dynasty, Shuo-Hua of All Men Are Brothers also begin to boom. Not only there are oral texts adapted from the novel of All Men Are Brothers both in southern Ping-Hua and northern Ping-Shu, and there are many famous storytellers who telling Ping-Hua and Ping-Shu of All Men Are Brothers, but localized Ping-Hua and Ping-Shu of All Men Are Brothers in all parts of the country have undergone many changes in the style of performance, the heritage of the oral text, the content of the text and so on, and formed a lot of new development features.The fifth chapter investigates the phenomenon of mutual interaction between oral literature and written literature as well as their intrinsic differences by starting with the level of text both of Shuo-Hua of All Men Are Brothers and the novel of All Men Are Brothers together. Looking from their historical development, in the process of constant transformation between the oral text of Shuo-Hua and the written text of novel, the presentation of the art of story-telling determines the modality, the structure and narrative characters of its text. While the commercial tendency of story-telling for amusing people, the level of knowledge and the experience of life both of storytellers and audience in different periods, and the change of cultural environment in different regions and periods, which further affect the potential narrative concept, the tropism of value and the aesthetic pursuit in the text of Shuo-Hua of All Men Are Brothers. As a result, between Shuo-Hua of All Men Are Brothers and the novel of All Men Are Brothers, there are mutual inheriting and the absorption in different literary domain, and the development and evolution in their own literary domain as well. Which reflects that there are such features between oral literature and written literature as same and difference, cross-coexist and interactive development, moreover, the opposite and unified between elegant and vulgar in the traditional chinese literature and culture.