中國(guó)文學(xué)簡(jiǎn)史資料英文版

1、The material of A Brief History of Chinese Literature TOC o 1-3 h z u HYPERLINK l _Toc265839558 Chapter 1 A Brief Introduction PAGEREF _Toc265839558 h 2 HYPERLINK l _Toc265839559 Chapter 2 Pre-Qin Literature PAGEREF _Toc265839559 h 7 HYPERLINK l _Toc265839560 I Poetry in the pre-Qin period PAGEREF _

2、Toc265839560 h 7 HYPERLINK l _Toc265839561 II Prose in the Pre-Qin Period PAGEREF _Toc265839561 h 10 HYPERLINK l _Toc265839562 Chapter three 漢魏六朝文學(xué)之英文資料 PAGEREF _Toc265839562 h 12 HYPERLINK l _Toc265839563 I.Han Dynasty Literature PAGEREF _Toc265839563 h 12 HYPERLINK l _Toc265839564 II The Literatur

3、e in the Wei, Jin, Southern and Northern Dynasties PAGEREF _Toc265839564 h 13 HYPERLINK l _Toc265839565 Chapter Four 隋唐文學(xué)之英文資料 PAGEREF _Toc265839565 h 18 HYPERLINK l _Toc265839566 I.The Tang Poems PAGEREF _Toc265839566 h 18 HYPERLINK l _Toc265839567 Chapter Five 宋代文學(xué)之英文資料 PAGEREF _Toc265839567 h 24

4、HYPERLINK l _Toc265839568 The Ci Poery in the Song Dynasty PAGEREF _Toc265839568 h 24 HYPERLINK l _Toc265839569 Chapter Six 元明雜劇 PAGEREF _Toc265839569 h 26 HYPERLINK l _Toc265839570 Yuan-Dynasty Drama and “San-qu songs (散曲) PAGEREF _Toc265839570 h 26 HYPERLINK l _Toc265839571 II. Introductive Readin

5、g PAGEREF _Toc265839571 h 34 HYPERLINK l _Toc265839572 2. Famous Playwrights of Za-ju Plays in Yuan-Ming Dynasties 元明雜劇著名劇作家 PAGEREF _Toc265839572 h 35 HYPERLINK l _Toc265839573 3. Features in Performance of Yuan Drama元?jiǎng)”硌萏攸c(diǎn) PAGEREF _Toc265839573 h 36 HYPERLINK l _Toc265839574 4. Noted Yuan Dramatis

6、ts and Plays 元雜劇主要?jiǎng)∧?PAGEREF _Toc265839574 h 38 HYPERLINK l _Toc265839575 5. The Textual Features and Versions of Za-ju in Yuan and Ming Periods 元明雜劇文本特點(diǎn)與版本 PAGEREF _Toc265839575 h 39 HYPERLINK l _Toc265839576 6The Subject Matter and Plot Modes of Za-ju 元明雜劇的題材來源與情節(jié)模式 PAGEREF _Toc265839576 h 41 HYPE

7、RLINK l _Toc265839577 7.The Courtroom Drama in Yuan Za-ju Plays 元雜劇中的公案劇 PAGEREF _Toc265839577 h 44 HYPERLINK l _Toc265839578 8. Religious Theme in Yuan Za-ju Plays 元雜劇中的宗教主題 PAGEREF _Toc265839578 h 46 HYPERLINK l _Toc265839579 9. The Charm of the Language of the Yuan Drama 元雜劇的語言魅力 PAGEREF _Toc2658

8、39579 h 47 HYPERLINK l _Toc265839580 10. The Textual Features of the New Za-ju in Ming and Qing Dynasties 明清新雜劇的文本特點(diǎn) PAGEREF _Toc265839580 h 48 HYPERLINK l _Toc265839581 11. Zhu Quan, Zhu You-dun and Their Dramatic Works明代的朱權(quán)，朱有燉及其劇作 PAGEREF _Toc265839581 h 49 HYPERLINK l _Toc265839582 Chapter Seven

9、 宋元南戲與明清傳奇之英文資料 PAGEREF _Toc265839582 h 51 HYPERLINK l _Toc265839583 Nanxi & Chuanqi PAGEREF _Toc265839583 h 51 HYPERLINK l _Toc265839585 1. Xi-wen (Southern drama) of the Song and Yuan dynasties 宋元南戲 PAGEREF _Toc265839585 h 58 HYPERLINK l _Toc265839586 3. Famous Playwrights and Their Plays of Roman

10、ce Drama in the Ming Dynasty明代傳奇知名作品作家 PAGEREF _Toc265839586 h 60 HYPERLINK l _Toc265839587 4Famous Playwrights and Their Plays of Romance Drama in the Qing Dynasty清代傳奇知名作品作家 PAGEREF _Toc265839587 h 61 HYPERLINK l _Toc265839588 5 Direct Addressing to Audience in Chuan-qi Plays. 明清傳奇的自報(bào)家門 PAGEREF _To

11、c265839588 h 62 HYPERLINK l _Toc265839589 6. The Plot Mode of the Romantic Comedy of Genius and Beauty in Ming and Qing Periods明清傳奇才子佳人型劇作的情節(jié)模式 PAGEREF _Toc265839589 h 63 HYPERLINK l _Toc265839590 7. The Comic Structure of Southern Tradition 南方戲劇傳統(tǒng)的喜劇性 PAGEREF _Toc265839590 h 65 HYPERLINK l _Toc2658

12、39591 8. The Limits of Caizi-jiaren or Scholar-beauty Model: Lack of Masculinity才子佳人戲劇的局限性：缺乏陽剛之氣 PAGEREF _Toc265839591 h 67 HYPERLINK l _Toc265839592 9. Tang XianzuThe Greatest of the Ming Dramatists明代最杰出的戲劇家湯顯祖 PAGEREF _Toc265839592 h 69 HYPERLINK l _Toc265839593 Chapter Eight 明清小說之英文資料 PAGEREF _T

13、oc265839593 h 72雙語表達(dá)：精彩句子與段落Chapter 1 A Brief Introduction1.China has a long and rich literary tradition, but to many Westerners, Chinese literature remains an enigma (謎). Many of the most important Chinese classics are unavailable in translation, as much of Chinas literary heritage (particularly it

14、s poetry) has been untranslatable, despite scholarly efforts.2.For 3,500 years, Chinese literatures diversified genres (類型)and forms have encompassed mythology 神話，poetry, essay, fiction and drama. It rivals (與媲美) other great literature of the world.3.Beginning with primitive mythology, Chinese liter

15、ature developed with The Book of Songs (?詩經(jīng)?)，Poetry of the South (?楚辭?)，the prose of the pre-Qin period, hanfu and yuefu folk songs of the Han Dynasty (漢賦)，the literary criticisim in the Wei and Jin dynasties, the Tang poems, ci of the Song Dynasty, yuanqu in the Yuan Dynasty and the Ming and Qing

16、novels. Each dynasty contributed its own distinctive literary genre.4.Chinas literary legacy predominantly falls into either classical or modern eras. However, it can be subdivided into four main periods:Classical: pre-Qinlate QingModern: 1840May 4th, 1919Revolutionary: 19191949Contemporary: 1949pre

17、sentModern literature embraces works from the late Qing Dynasty to the May 4th Movement of 1919. as the decadent (頹廢的) reign of the Qing failed to inspire the minds of people, literary forms remained unchanged until the First Opium War of 1840. as foreigners arrived in China and established their co

18、lonies, Western thinking began to influence Chinese writing. Novels, poetry, and other works with patriotic (愛國(guó)的) and revolutionary themes appeared to expose and attack social ills.Revolutionary literature spanned the period from 1919 to the foundation of the Peoples Republic of China in 1949 and to

19、ok on a new vigor, despite the fact that China was in the throes (掙扎) of political and social unrest (騷動(dòng)). This period was distinctive as it brought along a new and revised literary language, form, content, and set of skills, which evolved into an independent and open art form available to all. It f

20、ocused on peoples lives with strong political overtones, emphasizing opposition to imperialism and feudalism, and advocating the building of a new China.Contemporary literature started with the establishment of the PRC in 1949. there was a holdup of development as the consequence of the “cultural re

21、volution that lasted for nearly 10 years from 1966 to 1976. the era is now long gone and Chinese literature is prospering once again.Chinese classical literature refers to literary works from the days before the Qin Dynasty to the late Qing Dynasty, and is virtually an unbroken strand (思想等的一個(gè)組成局部) e

22、nduring dynastic changes.Long before the written language appeared, there was an oral tradition of tales of fables and legends. Some of them are still kept in some ancient books as a precious heritage of Chinese literature. Over 3,000 years, there has emerged a great variety of excellent works in te

23、rms of poems, essays, novels, dramas and so on.Chinese Mythology 中國(guó)神話Pangu the Creator盤古開天 At first the universe was in chaos. Shaped like an egg, it was an undifferentiated whole. Pangu, the Creator, was born into it. He was an almighty giant. He kept growing everyday until he separated the univers

24、e into the sky and the earth with his sheer muscular strength. In spite of this the sky and the earth were still connected at various parts. So he kept at his work with a chisel and an axe until the great feat was achieved. He lived for thousands of years, working all the time until he died of exhau

25、stion. When he died, his body changed into various things. His breath became winds and clouds. His left eye turned into the sun and his right eye the moon. His arms and legs were transformed into the four corners of the earth and parts of his body the various mountains. His blood formed the rivers a

26、nd his veins the roads. His flesh became the soil and his skin and fine body hair the trees and plants. His teeth and bones turned into rocks and metals and his marrow pearls and jade. His hair and mustache changed into stars. His sweat fell as rain, nourishing all things. The insects on his body to

27、ok the shape of men and women.Nuwa, the Maker of Man女媧造人After the birth of the world there were only creatures but no humans. It was indeed a lonely world. The Almighty Goddess Nuwa wanted to add life and beauty to the world. She set about making man with clay. She shaped little figures after her im

28、age with her hands. She breathed life into them and set them down. As soon as they touched ground, they began to cheer and dance. She went about her work day and night. It was slow work. When she became tired, the number of creatures she made was still very small. She thought out an idea to speed up

29、 the work. She got a rattan, dipped it into the mud and flung the rattan about. The mud drops turned into men and women.Nuwa mended the Sky女媧補(bǔ)天 Once a terrible disaster hit the earth. The sky collapsed and cracked, the earth tilted and split. Endless rains caused fierce floods, crevices in the groun

30、d sent out raging fires. Nuwa came out to save the world. She melted rocks of colours to mend the sky. She broke off the legs of a giant turtle and used them to support the four corners of the fallen sky. She killed the black dragon to save the people and checked the flood with reed ashes. Thus the

31、sky was mended and lifted, the cracks of the earth were filled, the fires put out, the flood tamed and the people saved.The Ancestors of Man兄妹始祖Fuxi(fu xi伏羲) and Nuwanv wa女媧 are the ancestors of man. At the beginning of the world there were only two people, Fuxi and Nuwa. They were brother and siste

32、r. They wanted to marry each other, but were ashamed of the idea. They decided to climb up to the holy Mountain named Kunlun, the palace of the God of Heaven on earth. They built two fires and prayed: If Heaven sent us down to be husband and wife, may the smoke join; if not, the smoke will go differ

33、ent ways. In no time the smoke joined, they obeyed the decree of Heaven. Nuwa went up to Fuxi, who took her sister in his arms. Thus they got married. Myths about man Very conspicuous in Chinese mythology is a lack of detailed myths regarding the origin of man. As already noted, one that is well-kno

34、wn relates that mankind came from the lice on the decaying body of Pan Gu, but Pan Gu is described in another tradition as fashioning men from clay, some of whom were damaged when storm and rain was pressing on and became deformed as a consequence. Nu Wa, the deity who reconstructed the four pillars

35、 supporting heaven, was also said to have created men from clay, with the help of other gods and goddesses, some with care, others by dragging a string through mud because they wanted to produce more and faster. Another tale goes that Nu Wa and her elder brother Fu Xi got married, which marked the b

36、eginnings of the human race. Later when they found that the young people lived together irregularly, to the great detriment of morality, they prohibited marriage between members of the same family. Yu the Great, the Flood Tamer大禹治水Gonggonggong gong共工, the water god was defeated in the power struggle

37、 against Zhuanxu(zhuan xu 顓頊), one of the five celestial emperors. In fury, he knocked down the Buzhou Mountainbuzhou shan不周山, one of the pillars of the sky. The sky collapsed, rains poured down, the earth tilted, floods raged. Gun gun鯀the Yellow Dragon stole the Growing Earth xi rang息壤from heaven i

38、n an attempt to block the floods. This failed and he was killed by heaven. Three years after his death, his body was still in good condition. When it was cut open, out bounded his son, the Great Yuda yu大禹. Yu carried on the unfinished task of his father. Blocking floods by means of dams and dikes wa

39、s not enough, that was the lesson he drew from his fathers failure. He also dredged rivers and built canals. Yu drove away Gongong the water god and went at his work thirteen years long. The whole earth was inundated. It was slow work. When he was cutting through the most difficult mountain, the Mou

40、ntain of the Dragon Gate, he turned himself into a bear. When his wife found him in this form, she turned herself into a rock. He lost his wife, but he was not crushed by this misery. He kept at his work until the floods were tamed and man was saved. And he was revered as Yu the Great. The Empty Pal

41、ace of Gods空寂神殿 Compared with Greek mythology, Chinese mythology is not very impressive. There is no comparison between it and Greek mythology in amount, Chinese mythology is fragmented, unsystematic. The family trees of gods are not very clear. Much of Chinese mythology is lost, and what is not los

42、t is scattered and difficult to trace. Various causes have been suggested. First, the extremely complicated written word was not efficient in recording myths and legends. Second, Confucius, the most important Chinese philosopher dismissed anything mysterious or fantastic, and that discouraged the sp

43、reading of myths. Third, historians before and after Confucius turned much of mythology into historical events and stories. Fourth, Chinese are probably the most historically conscious; even in ancient times early history and mythology were already entwined. As a result, gods became historical figur

44、es, and historical figures became gods. No scholars ever thought of systematically recording myths and legends until this century. However, there occurs a brighter side of the picture. Lots of lost myths are still alive among some minority peoples. Much of it has been recorded in the past decades. I

45、t wont be long before Chinese mythology is reconstructed and systematized. 相對(duì)于希臘神話，中國(guó)神話給人印象不深。在數(shù)量上它與希臘神話不可同日而語。而且又支離破碎，沒有系統(tǒng)。神譜不清。中國(guó)神話散佚很多，僅存的文獻(xiàn)又很分散，難以尋查。這有各種原因。首先是漢字繁難，不變記錄。其次是孔子，他不談怪、力、亂、神，這就不利于神話的傳播。第三是史官，孔子前后的史官把許多神話傳說化為歷史。最后一點(diǎn)是中國(guó)人的歷史感，中國(guó)人也許是歷史觀念最強(qiáng)烈的民族。古人把歷史和神話混在一起，糾纏不清。結(jié)果是神下地人上天。讀書人從來沒有系統(tǒng)整理神話傳說的

46、念頭。直到本世紀(jì)情況才為之一變。不過還有光明的一面。許多散佚的神話還活在少數(shù)民族的口頭傳說之中。幾十年來已經(jīng)做了許多記錄整理工作。重構(gòu)中國(guó)神話的系統(tǒng)工作已經(jīng)指日可待了。*In China, as elsewhere, mythology served to explain the otherwise unexplainable, by attributing the origin and current structure of the universe to the operations of supernatural beings. Meanwhile it, as a whole, re

47、flects peoples strong desire to survive in the universe and to overcome difficulties and disasters in nature.*Chinese mythology is particular about the actions of gods and other supernatural creatures as they affect man and the world in which he lives. It explains not only the origins of things but

48、also the continuing role of supernatural beings in the day-to-day life of the Chinese people. Most of it removed the frightful aspects of terrifying natural phenomena, such as lightning and thunder, by placing individual gods in charge of each natural force and thus making them accessible to men.*Ch

49、inese mythology presents a double image: the relatively few myths of antiquity, about which little is known, and the numerous myths of later ages, about which a great deal is known. There certainly were myths in ancient China, but, unlike Greece and Rome which had great epics embodying mythological

50、lore, such tales can only be found in sketches and fragments in ancient books, for example, The Book of Mountains and Seas(shanhai jing 山海經(jīng)), The Book of Master ZhuangZhuangzi 莊子, The Book of Master HuainanHuainanzi 淮南子and Songs of ChuChuci 楚辭. And many were probably reworked and reinterpreted by la

51、ter scholars of the Zhou and Han dynasties. That is why there are several different descriptions of a certain god or supernatural hero.*Chinese mythology contributed much to the forming of Chinese religion, especially Religious Taoism and Buddhism. And conversely the religious situation that prevail

52、ed in China added to it more new gods that generally had clearly defined functions and definite personal characteristics and became prominent in art and literature, and meanwhile modified many early myths to the extent that some deities and figures were rationalized into abstract concepts and others

53、 were euhemerized into historical figures.In the process of evolution, some new deities were successively created or sanctioned by imperial authorities in various dynasties, such as the two door-gods, Qin Shubao(秦叔寶) and Yuchi Jingde尉遲敬德. According to the record, when Emperor Tai Zong was ill, ghost

54、s started disturbing him at night. When they were informed of that they volunteered to stand guard outside the door of the emperors bedroom. So there was no further alarm and later the emperor had their portraits painted and hung on both sides of his palace gate and the ghosts ceased to disturb him

55、since then.Though Chinese mythology has no epics and collections it is still rich and prolific in content and theme, dealing with almost every field of the universe, the major categories being myths of the cosmos, myths about man, about heroes, about gods, and about animals. Myths of the cosmos Pang

56、u the creatorAs for the sun, one text speaks of the goddess Xi He(羲和), one of the wives of Di Jun(帝俊)，to whom she bore ten suns. In what seems to be the original version of the myth, Xi He bathed the suns every morning in a lovely pond to restore their brightness before they set out, one each day, o

57、n their journey. The nine suns which were not on duty would perch on a giant fusang tree(扶桑) on the eastern edge of the world. The sun is described as travelling in a chariot, occasionally drawn by a dragon, with Xi He sometimes as charioteer. Much less evidence remains of early moon myths, though t

58、he loveliness of Chang Xi(常羲，also named Chang Yi常儀, Heng E姮娥, Chang E嫦娥), the moon goddess, has often been celebrated in poems and novels, as a wife of Di Jun, Chang Xi gave birth to 12 moons, 11 of which somehow eventually disappeared. In another legend, Chang E is considered the wife of Hou Yi(后羿)

59、. She fled to the moon when he discovered she had stolen the pills of immortality given to him by the Queen Mother of the West(西王母). Hou Yis pursuit was impeded by the hare, who would not permit the irate husband to pass until he promised reconciliation. Each year on the 15th day of the eighth lunar

60、 month, the Chinese celebrate the memory of Chang Es flight to the moon with the Mid-Autumn Festival; many go outdoors to look for the outline of a toad on the moon for, according to one account, Chang E was changed into a toad. 嫦娥奔月 Myths about heroes Among Chinese hero myths, that of Hou Yi is amo