From "snow In Midsummer" And "orphan" Sense Of The Tragedy Of The Yuan Dynasty

For a long period of time, there is a dispute that whether the tragedy exists in Chinese classical plays. The understanding divergence lies in the differences between the conflicts of inner heart and the free will and those between the automatic repayment in later life and the pleasing ending. The writing of Chinese classical play is not following a strictly fixed theory of tragedy but comes into existence according to the writers'and readers'standards for what is virtue and what is beauty. Chinese players of the ancient times were not unable to understand the tragedy caused by the dark reality but couldn't accept it sentimentally. In Chinese classical plays indeed exist those leading characters who struggle to the end despite the failure as well as colorful experiences in which the audience would cry and sigh. Therefore, we can say no matter whether we have the tragedy in the sense of western theory or not, we can be sure that we have intense consciousness about tragedy. On this basis, in this paper, Snow in Summer and Chinese Orphan are set as examples to be analyzed. These two works show that the tragedy awareness is influenced by history as well as the circumstances. And the awareness which is commonly seen is distinct. Although traditionally Chinese play always has a pleasing ending, it also reveals the sad tone through most part of the plot.It shows in this paper that the tragedy awareness in the play of Yuan dynasty can be seen from life, hardship and revenge. In the meantime, it disseminates the spirit of struggling, spreads the ethics and morality and calls out the noble spirit and presents some other cultural, social and historical values.