Study On The Sixty Kinds Of Opera

The Sixty Kinds of Opera,a summary book of the Chuanqi of Ming Dynasty compiled by Mao Jin,plays an important role in spreading Chuanqi of Ming Dynasty in the late centrury.Since recent Yao Hua wrote an introductive article about The Sixty Kinds of Opera,scholars pay more and more attention to it which has been praised as the most significant and overall book of analyzing the Chuanqi of Ming Dynasty by Fu Xihua.This paper discuss the editorial ideology,editorial guiding principle and detail rules,selection of the play version,aesthetic pursuit,route of transmission,in order to find its characteristics,value and significance in the dissemination by analysis author's personal character,his proficient version and his academic background.The paper has four chapters excluding a preface and an epilogue.The first chapter focuses on Mao Jin's family education and how his tutor influences on forming his characteristic.Born in an family can balance farming and reading,Mao Jin has an appetite in reading and travelling,and always write poems while drinking with his friends.It is a turning point that he met his tutor Qian Qianyi who maybe somewhat affects this student's hobby of collecting books.A large collection of eighty-four thousand books,most of which are ancient rare versions,lays the good foundation for his inscribing books.His literary accomplishment penetrates in his whole inscribing career and all this valuable advantages ensure The Sixty Kinds of Opera a reliable version.Chapter two emphasizes on stylistic rules and layout of The Sixty Kinds of Opera First of all,the paper shows that The Sixty Kinds of Opera is a product during Ming Dynasty opera prosperity and compares The Sixty Kinds of Opera with The works of Nansong sixty writers and The Ci of sixty writers in Song to reveal Mao Jin's editorial mind and editorial guiding principle and detail rules getting mature.What is more,meaning of two kinds of "The West Chamber" and two kinds of "Peony Pavilion" has been demonstrated.Although " South the West Chamber" of Li Rihua and "Peony Pavilion" of Xu rixi version are misunder stood and ignored by literati at the time,but these adaptations make an important contribution to original works' classic,popularization and its wide dissemination which conversely make the adaptations get their deserved reputation.Chapter three does a textual research on versions' characteristic of The Sixty Kinds of Opera and focuses on Shen Cai's Qianjinji and an anonymous author's Xunqinji.On the basis of every existing published edition of Ming Dynasty,the research want to make original version of The Sixty Kinds of Opera clear and to know where Mao Jin have the text compiled,so as to thoroughly investigate The Sixty Kinds of Opera 's decisions for the fitful version to display its value and trait.Chapter four discusses The Sixty Kinds of Opera 's aesthetic pursuit of "being good at both reading and playing on stage".First of all,the paper explains and analyzes the meaning of "drama's fit for both reading as text and playing on stage".Then comparison between original drama and the existing adaptations combining with description of the live performances from notes,essays and articles written by literati of Ming Dynasty prove that dramas included in The Sixty Kinds of Oper are drama "playing on stage",so it is suitable for stage performance and has been played in reality.Last but not least,the interpretation of all plays and performances of Tang Xianzu demonstrate that every piece of Tang Xianzu's work aims to preservation,collection,dissemination which makes the writer famous.That is the essence and the meaning of the selection of dramas.On the basis of being in possession of a large amount of literature data,the paper try to take the first step on depicting the value and meaning of The Sixty Kinds of Opera for the choice by using the research methods of comparison and analysis.