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The study of yuan and Ming novel characters

Author: LiuQingXia
Tutor: LiuJunHua
School: Shaanxi Normal University
Course: Ancient Chinese Literature
Keywords: Medium-length Classical Chinese novels characters art features the Ming dynasty society
CLC: I207.41
Type: Master's thesis
Year: 2013
Downloads: 103
Quote: 0
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Medium-length Classical Chinese novels which defined on the basis of work capacity and the length are created started from Jiao Hong Ji in the Yuan dynasty. It is the main features of this kind of works that the length of most works is more than thousands of words, the love between men and women as the main description object, and there are many poems on the narration, many characters are also created successfully. Medium-length Classical Chinese novels appeared in Yuan dynasty and flourished in the Jiajing period of Ming dynasty, the quantity of works is numerous, widely included in Guo Se Tian Xiang, Wan Jin Qing Lin, Hua Zhen Qi Yan, Xiu Gu Chun Rong, Yan Ju Bi Ji and other popular Anthology. The extant Medium-length Classical Chinese novels works is are Jiao Hong Ji which written by Song Meidong in the Yuan dynasty, Jia Yunhua Resurrection, Deep Love Story, The Dragon on The Cymbidium, li Shi, Love Story Begin With The Mirror, Shuang Qing Bi Ji, Huai Chun Ya Ji, Love Between One Man and Three Women, Happy Encounter, Happy Encounter of Mr Li, Mr Liu Looking For a Gril Named Lotus, Two Sisters’s Love Stories, Biography of Five Gold Fish Ornaments, Four Friends, Gathering of Legends, The Best Gentleman Sex Mate, A Woman’s Sex Experience, Love Story of The Plum Blossom Fairy, God of The Sea and so on.Though, these works in the content description of love between men and women, but different in style. The early works wrote about a man and a woman devoted love, new love view can be seen as beauties novella, created many wit, beautiful image, but later works were about licentious sexual relations between a male and many female, even writing obscenity details and depicting the naked flesh chase, created a batch of sexpot, whore, idleness and wit of the image. In addition, gay men were portrayed in the biography of Four Friends. The Love Story of The Plum Blossom Fairy and God of The Sea main write the romance between fairy and ordinary people and the image of merchant was appeared. The characters in the Medium-length Classical Chinese novels are a diverse group, have different characteristics, in art focus on through the character’s environment, the character psychology, dialogue description to portray the character image. And the formation of these characters, and complex social environment of Ming dynasty, but also reflects the cultural mentality of scholars of the Ming dynasty. The first chapter made a detailed introduction of the development of Medium-length Classical Chinese novels rheological stage and content style, moreover, briefly summarized its artistic characteristics and artistic value. The second chapter mainly discusses the female images in the Medium-length Classical Chinese novels through classified introduction, mainly divides into the wind, and your male servant and female lady, for women, the types of fairy, whore, prostitutes, etc, through the concept of positioning and text interpretation, contact the social background of Ming dynasty, make a careful analysis of all kinds of female images by characteristics. The third chapter analyzes the legendary story of male image, mainly divided into wit, businessmen, and gay men three types, according to its character of a person and the behavior characteristics and divided into two categories, artistic, roll wit of a person. Chapter four analyzes the artistic features of the shaping of image the Medium-length Classical Chinese novels, there are three main aspects, namely attention through the psychological of the characters, dialogue, character activity environment description to portray the character image. The epilogue makes an objective evaluation of Medium-length Classical Chinese novels artistic value and affirmation on its literary value and important position in literature history.

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