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By Yumin Ao

This publication is a research of the thematic, narrative, and musical constitution of Yuanqu xuan [A collection of Yuan performs] version of the Yuan zaju (variety play) Dou E yuan [Injustice to Dou E] initially composed through the very hot playwright Guan Hanqing (fl. 1260). even if different authors have studied those 3 points of Dou E yuan individually, this is often the 1st entire therapy of the subject as a scholarly monograph in English. Yumin Ao’s research relies at the variation of the play within the Yuanqu xuan [A number of Yuan performs] compiled by way of the Ming writer Zang Maoxun (ca. 1550-1620). Ao proposes that Dou E yuan, as a dramatic narrative which develops via its enactment at the degree instead of via verbal presentation as a narrative, screens its integrative constitution of narration via its thematic improvement and inside of its musical conventions.

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Extra resources for A Study on the Thematic, Narrative, and Musical Structure of Guan Hanqing's Yuan Zaju, Injustice to Dou E (Currents in Comparative Romance Languages and Literatures)

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4 In the second stanza, his depression arose from the severely curtailed career opportunities for political advancement for a Confucian scholar at that time,5 and he intentionally distracted himself from such disappointment among “flowers” (hua 花), which is a metaphorical reference to courtesans. , Yuanqu jianshang cidian 元曲鑒賞辭典 [A Dictionary of Appreciation of Yuan Dynasty Lyric Verses and Dramatic arias ] (Shanghai: Cishu chubanshe, 1990), 83–4. 4 Ibid. 5 According to the Yuan shi xuanju zhi 元史選舉志 [Treatises of State Examination of the History of the Yuan Dynasty], the examination for the civil service was suspended during the reign of the Mongols.

This was an instance of the Chinese concept of “renouncing the world” (chushi 出世) and an option taken by other renowned playwrights such as Bai Pu 白樸 (1226–1306) and Ma Zhiyuan 馬致遠 (1250–ca. ” Birth, Domicile and Personality The Lugui bu 錄鬼簿 [The Register of Ghosts; hereafter cited as LGB], compiled by Zhong Sicheng 鐘嗣成 (ca. 1277–ca. 8 [Shin-Huo Monthly] 4 (1974): 109–26; Meng Siming 蒙思明, Yuandai shehui jieji zhidu 元代社會階級制度 [The Social Class System in the Yuan Dynasty] (Beijing: Zhonghua shuju, 1980), 174; and Xiao Qiqing, “Song-Yuan zhiji de yimin yu erchen” 宋元之際的遺 民與貳臣 [Partisans and Twice-serving Officials during the Song-Yuan Period], in Lishi yuekan 歷史月刊 [Historical Monthly] 4 (1996): 56–64.

19 Only some, but not all, of the Yuan zaju can be assigned to Yuan dramatists referred to in the LGB. With regard to Guan Hanqing, of the extant twenty-one zaju that are attributed to him, the five ascribed to Guan are obviously of inferior quality and their authorship remains in dispute. In 1324, Zhou Deqing 周德清 (1277–1365) completed his Zhongyuan yinyun 中原音韻 [The Sound and Rhymes of the Central Plain; hereafter cited as ZYYY], a rulebook of qu phonology and a manual of rhyme tables for legitimizing the production of dramatic and non-dramatic lyrics by the literati.

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