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外文标题:On the Theatricality of the Ci-Poetry in Tang and Song Dynasties
外文作者:TAO Wenpeng, ZHAO Xuepei
文献出处: Translated from Wenxue pinglun (Literary Review), 2018, (1): 120–126 (如觉得年份太老,可改为近2年,毕竟很多毕业生都这样做)
英文6626单词,35886字符,中文9241汉字。
On the Theatricality of the Ci-Poetry in Tang and Song Dynasties
Abstract: Ci-poetry and drama are both genres of musical literature and the theatricality of the ci-poetry is demonstrated from many different aspects, such as the first-person narration, the emotional lyrics with unique features, the musical dialogues between two people or among many people, the dramatic conflict presented in the lyrics, the dramatic actions and the dramatic situations, etc. There are all kinds of plays in the ci-poetry, namely the serious drama, the comedy, the tragedy, the comedy with tears, the fantasy and the allegorical play. The ci-poetry of the Tang and Song dynasties exerted great influence on drama and on the other hand, the army-joining drama of the Tang dynasty and the miscellaneous drama of the Song dynasty to some extent inspired the creation of ci-poetry. The relationship between ci-poetry and drama confirms the mutual infiltration and cross reference among different literary genres in the Song dynasty.
Keywords: theatricality, ci-poetry, drama
Introduction
In the late 1940s, Yuan Kejia 袁可嘉, the famous poet and scholar wrote such articles as “Xinshi xiyuhua” 新诗戏剧化 (The theatricality of new poetry) and “Tan xiju zhuyi” 谈戏剧主义 (On dramaticism) on account of the didactic and sentimental tendencies in the new poetry at that time. He pointed out that the theatricality of the new poetry should be improved so as to enhance its artistic quality and expressive force and “the poet should express his purpose and emotion in the dramatic way.”1 He then said, “The life experience itself is dramatic (since it has the dialectical feature of seeking unity among the conflicts). The poet
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