On The Transmutation Of The Legend Of Late Ming Dynasty From The Perspective

The following thesis intends to discuss the evolution of Legend Opera in middle and late Ming Dynasty based on the entrance and exit poetry. From Song and Yuan Dynasty to Ming Dynasty, the entrance and exit poetry reflect a important role in Chinese Opera as an important part of acting pattern. There are many Legend Opera works in middle and late Ming Dynasty, and the works of Tang Xianzu and Shen Jing are very representative. In their works, the entrance and exit poetry also generated some new changes. This thesis intends to focus on the entrance and exit poetry of Tang and Shen’s Legend works, and sum the rules of the evolution of Legend Opera in that time.Since up to present, the definition of the entrance and exit poetry are not settled, the first chapter summarizes the basic features of them from Song to Ming Dynasty, then make a simple definition based on that.The second chapter focus on the entrance and exit poetry in Tang Xianzu’s works. The five works of Tang correspond three stages of his creation, and reflect the evolution trajectory of his creative style. There are three sections to discuss the festures of each stage, and summarize the overall style of Tang’s creation.The third chapter inspects the entrance and exit poetry in Shen Jing’s works, and summarize the difference of creative style and creative thoughts between him and Tang Xianzu.The fourth chapter discusses the revolution of Legend Opera in middle and late Ming Dynasty, based on the festures of the entrance and exit poetry in Tang and Shen’s works, the similarities and differences between their creation, and other Legend works in the same time. Overall, the Legend Opera in middle and late Ming Dynasty presents the characteristics of standardization and dramatic, romantic and promotional in creative proposition, and attach importance to the interest and curiosity.