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The present thesis aims to clarify problems found in the dramatic typology popular in the Won dynasty and the typology of Tai He Zheng Yin Pu. The greatest problem with them is that the boundaries between the categories are obscure. The present thesis seeks to make clear the exact meaning of each category by examining this problem.
In the case of the typology popular in the Won dynasty, the main difference between Jia Tou Za Ju and Jun Chen Za Ju is that the former expressed 'humane feature' of the emperor while the latter expressed his 'dignity' as a prince. In distinguishing Hua Dan Za Ju amd Gui Yuan Za Ju, 'seriousness of love' should be the criterion rather than the protagonists' social positions. With Lu Lin Za Ju and Tuo Bo Za Ju also, whether 'martial arts' are the main elements or not should be the focus, instead of whether they are Shui Hu Jus or not. And Shen Fo Za Ju is, as it is Shen Ming Fo Jiao Ju with a strong element of spiritual monstrosity, distinguished from Shen Xian Dao Hua.
In the case of Tai He Zheng Yin Pu, Shen Xian Dao Hua and Yin Ju Le Dao should be distinguished according to the criterion of whether the protagonist is a man or a Taoist hermit. The king's subjects in Zhong Chen Lie Shi are, unlike in ‘Pi Pao Bing Hu’, most of them tragic people, suffering the sorrow of losing their countries. ‘Feng Hua Xue Yue’ differs from ‘Gui Yuan Za Ju’in that its protagonists are not confined to women, which leads us to regard the ‘Feng Hua Xue Yue’ as including ‘Gui Yuan Za Ju’ and part of ‘Ruan Mo Ni’.
Though these two typologies are somewhat unreasonable and devoid of variety, we cannot deny the epoch making contribution they made to Chinese history of dramas. Since they are not merely methods for classifying dramas but also important materials for understanding the perspectives in which ancient Chinese saw the dramas and for improving our recognition of the ancient dramas, they should be evaluated more highly.
In the case of the typology popular in the Won dynasty, the main difference between Jia Tou Za Ju and Jun Chen Za Ju is that the former expressed 'humane feature' of the emperor while the latter expressed his 'dignity' as a prince. In distinguishing Hua Dan Za Ju amd Gui Yuan Za Ju, 'seriousness of love' should be the criterion rather than the protagonists' social positions. With Lu Lin Za Ju and Tuo Bo Za Ju also, whether 'martial arts' are the main elements or not should be the focus, instead of whether they are Shui Hu Jus or not. And Shen Fo Za Ju is, as it is Shen Ming Fo Jiao Ju with a strong element of spiritual monstrosity, distinguished from Shen Xian Dao Hua.
In the case of Tai He Zheng Yin Pu, Shen Xian Dao Hua and Yin Ju Le Dao should be distinguished according to the criterion of whether the protagonist is a man or a Taoist hermit. The king's subjects in Zhong Chen Lie Shi are, unlike in ‘Pi Pao Bing Hu’, most of them tragic people, suffering the sorrow of losing their countries. ‘Feng Hua Xue Yue’ differs from ‘Gui Yuan Za Ju’in that its protagonists are not confined to women, which leads us to regard the ‘Feng Hua Xue Yue’ as including ‘Gui Yuan Za Ju’ and part of ‘Ruan Mo Ni’.
Though these two typologies are somewhat unreasonable and devoid of variety, we cannot deny the epoch making contribution they made to Chinese history of dramas. Since they are not merely methods for classifying dramas but also important materials for understanding the perspectives in which ancient Chinese saw the dramas and for improving our recognition of the ancient dramas, they should be evaluated more highly.
목차
1. 序言
2. 元代의 通俗分類法
3.《太和正音譜》의 分類法
4. 結語
參考文獻
ABSTRACT
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