The Study Of Emotion Expressions Of The Female Dramatists In Ming And Qing Dynasty

This paper discusses the emotion expressions in the dramas of the female dramatists in Ming and Qing dynasty. Female dramatists’emotion expressions means they expressed their inner world and existence states through writing dramas,and showed their self-consciousness.Compared with male dramatists,female dramatists have their own features of writing.This paper chose four female dramatists in late of Ming, early of Qing, and middle of Qing---Ye Xiaowan, Wang Jun, Wu Zao, and He Peizhu as the centre of discussion. Based on authors’ personal experiences, poets and the social and time background to compare these four dramas, and looked them as a whole to compare them with the male dramatists in similar dynasty or themes. Besides, this paper gives a brief introduction of other female dramatists. Through the study, we can explore the emotional world of female dramatists; grasp the development of female play writing, and their special ways in expressing female consciousness.Chapter One introduced the time and social background of female play-writing. It is mainly about the Change of female view and prosperity of women culture. Many male literati of Ming and Qing dynasty cared about women living circumstances, affirm women talent, and appeal the equality of men and woman. These behaviors shook traditional female view, and provide chances for the prosperity of female culture. The causes of the prosperity of female culture except the support of male literati, also benefited from the support of family, the development of publishing, and are affected by the experiences and self- consciousness of women, which promote more and more women engaged in drama writing.Chapter Two studied the life experience, poets and the writing background of the representative works--- Yuan Yang Dream, Fan Hua Dream, Qiao Ying, and Li Hua Dream of Ye Xiaowan, Wang Jun, Wu Zao, and He Peizhu. The study of their life and poets is helpful to know the emotion of their dramas.Chapter Three discussed Ye Xiaowan’s Yuan Yang Dream. As the first existing drama written by woman, Yuan Yang Dream has already reflected the feature that women express themselves by drama, but it’s self- consciousness is very dim, and it still stayed in the level of unconscious explore in fortune.Chapter Four discussed the development of female dramatists’self-expression through Wang Jun’s Fan Hua Dream, Wu Zao’s Qiao Ying, and He Peizhu’s Li Hua Dream. The first two dramas expressed talented women ideal, and the last one has sublimed to the meaning of life. From Yuan Yang Dream to Fan Hua Dream and Qiao Ying, and then to Li Hua Dream, the self-expressions of female dramatists are gradually became lager and deeper, and the self-consciousness are gradually became clear.Chapter Five compared the four dramas with the dramas written by male literati in similar period and had the similar theme or writing technique. Yuan Yang Dream, Li Hua Dream, and the Peony Pavilion were all express emotion by dream. Fan Hua Dream and Han Dan Dream were all express ideal by dream. Ci Mulan, the Female Number One Scholar, and Qiao Ying were all about gender-crossing. Through comparison, we can see female dramatists are affected by male dramatists, but had their own characteristics in self-expression.Chapter Six analyzed other female dramatists’ works in Ming and Qing dynasty, aiming to give a more general view of female drama writing. They are divided to two kinds---love and marriage, and social care. We chose Wang Jun’s Quan Fuji, Wu Lanzheng’s Jiang Hengqiu, and Liu Qingyun’s Yuan Yangmeng as representation of the former, and Liu Qingyun’s Wang Yangtan and Ying zongjinu’s Liu Yueshuang as representation of the latter.The conclusion summarized the writing characteristics of the female dramatists in Ming and Qing Dynasty,and raised other related subjects to further study.