The Study of Li Kaixian’s Dramatic Theory and Works

• Main Authors: Chiu-Ya Kao, 高久雅
• Other Authors: Yong-Yi Tzeng
• Format: Others
• Language: zh-TW
• Published: 2015
• Online Access: http://ndltd.ncl.edu.tw/handle/03002713193952265328

碩士 === 國立臺灣大學 === 中國文學研究所 === 103 === This paper focuses on the works of Li Kaixian, a Ming dynasty literatus active from the late 1550s to 1560s, comparing his theory of Chinese Drama and his own Yuanben and Chuanqi, to examine the ways in which his works correspond to his theory, and how this theory distinguished him from his contemporaries, and cemented his status as an important figure in the history of Chinese Drama. In his theory of origin of Chinese Drama, Li Kaixian brings Chinese drama into the styles of verse system that originate from the Shijing since it conforms to the interest of all the different literary genres, which is to express and reflect feelings, aspirations and true emotions, and sees Chinese Drama as it bases itself on the revival of tranditions. Li takes the masterpieces of Chinese Drama from the Jin and Yuan dynasties as canonical, because they reflect human emotion so effectively. As canonical texts, Chinese Dramas must possess the educational function of influence, such as Gaiding Yuanxian chuanqi (Revised Plays by Yuan Masters) selected by Li, and his work Bau Jian Ji and Duan Fa Ji. The story and the image of the main characters, mostly present traits like loyalty, filial piety and chastity, in order to advocate for the concept of karma and thus encourage people to do good. However, Li Kaixian follows a different aesthetic standard for rhetoric and rhythm in Chinese Drama. On the one hand, he emphasizes the question of whether or not literature can express people’s emotion; he likes folk pieces selected by Cixue (Banter about Lyrics) which he considers as genuine, regardless of the defects on wording and rhyming. However, to become an excellent Chinese Drama composer, Li believed that they have to build upon the basis of authentic emotions and demonstrate their impressive talent and profound knowledge. Rhyming patterns should stem from Zhongyuan Yinyun (Rhyme books of Yuan dynasty), while phrasing stems from individual comprehension and creativity. In Li Kaixian’s Yuanben and chuanqi, which use allusions to form fluid proseand abound in personal distinguishing features, his aesthetic pursuit of both popularity and refinement is evident. Li Kaixian’s abundant and diverse works, his triple identities as an audience member, an author, and a critic, his interest of popularity and refinement in his theory and works, all make Li Kaixian unique in the mid-Ming Dynasty Chinese Drama circle and afford him his important and remarkable status.