Chinese classic drama was popular in the 17th century.The drama during
the Yuan (Yan or Mongol) dynasty (1279-1368) may have been the result
of the refusal of many scholars to serve the Mongol regime; instead they
turned their talents to new fields, such as fiction and drama. Vernacular
literature continued to develop through the modern period, until it finally
coalesced with a new and more inclusive literary movement in the early
years of the 20th century.
Since the 13th century Chinese drama has followed a pattern of local
development, with the most popular of local dramas acquiring national
importance. The Yuan drama, a creation of northern China, relies on northern
dialect in dialogue and song. The lute is the chief instrument used, and
the songs, which constitute the poetic portion of the play and are generally
considered more important than the dialogues, are written in the qu (ch'),
a new poetic form more flexible and expressive than the previously mentioned
shi of the Han period and the ci of the Tang period. A Yuan play has four
parts, corresponding to the four acts of a Western play; often an additional
short act that serves as a prelude and sometimes as an interlude is added.
The basic template for most Chinese plays involves a handsome, bright
scholar who falls in love with a beautiful maiden. Trouble usually comes
in in the form of parental disapproval, thus creating the conflict between
the young lovers' Confucian obedience to their parents and their own irrepressible
love for each other. Peony Pavilion adheres to this pattern but throws
in a very unusual twist. The young maiden in the story, Bridal Du, falls
in love with a scholar whom she's only met once in a dream and dies longing
for him. But this is just the beginning. The scholar, Liu Mengmei, happens
to be a real person and through sheer accident ends up staying in her
town. Eventually, Liu meets Bridal's ghost, disinters her body, and she
comes back to live. Other complications then arise. The play also includes
a good dose of humor.
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