published_or_final_version / Chinese Language and Literature / Master / Master of Arts

Han Yu is famous in Chinese history both for his literature and for his defense of Confucianism at a time when it was being seriously challenged by Buddhism and religious Taoism. Although his influ- ence was limited during his own lifetime, in later times Han Yu came to symbolize the conservative Confucian values that are often identi- fied with the traditional Chinese state. This study examines Han Yu's life and thought in an attempt to determine to what extent his later image as an ideal Confucian was or was not justified. A chapter on the historical background provides the context for Han Yu's biography, which is divided into five chap- ters. This is followed by a chapter discussing the intellectual back- ground of Han Yu's thought. Two further chapters discuss, first, the basis of Han Yu's conservative image, and, second, a number of his writings which illustrate the limits of his conservatism. Han Yu's ideas are related to the political and social circumstan- ces of his times, and it is found that while he is indeed a conservative and a Confucian, the extent of both his conservatism and his Confucian orthodoxy have been exaggerated.

The birth, flourishing, and decline of Yuan tsa-chu, a form of Chinese musical poetic drama, occurred in the Mongol dynasty of Yuan (1206-1367). Many factors contributed to this phenomenon, not the least of which was the creative genius of the scholar-playwrights, natives of North China and active during the early years of that dynasty. Among the great masters of Yuan drama who contributed to the perfection of this new literary form is Ma Chih-yuan (1250-1322?). His contributions went beyond merely the pioneering of form. He also expanded its thematic scope and exerted a profound influence on later dramatists and poets who cultivated the dramatic and san-ch'u (non-dramatic lyrics) verse types. Unlike the great poets of previous dynasties who were respected and studied, the playwrights of Yuan times were largely ignored by native literary historians until this century because of the traditional contempt for such "frivolous" skills as the writing of plays. We therefore know very little about their personal or creative lives. Fortunately, in the case of Ma Chih-yuan, over one hundred san-ch'u and seven of his plays have survived. Chapter I contains a chronology of his life based on the scanty data available. Some of his non-dramatic songs are also translated and interpreted to provide additional insight into his sentiments, ambitions, and general philosophical outlook. The main body of my dissertation examines and evaluates the extant plays, concentrating on the poetic passages which represent the essence of Yuan drama. Plot, plot origins, and the themes of each play are also explored to supplement the discussions of the language. In Chapter II, Ma's most critically acclaimed work, The Autumnal Palace of Han, is examined in detail. In Chapter III, I discuss Tears on the Blue Gown, the only surviving play which has a female protagonist. In Chapter IV, the similarities and dissimilarities of the three Taoist conversion plays--The Yellow Millet Dream, The Yueh-yang Tower, and Jen Feng Tzu--and their relationship to the Ch'uan-chen sect of Taoism are explored. Chapter V deals with Lightning Smashes the Tablet of Chien-fu, a play about the misfortunes of a scholar and his complaints against an unsympathetic government. In the last chapter, the structurally flawed play Ch'en T'uan Stays Aloof, depicting the life of a Taoist recluse, is examined.

盧志虹. / "2010年9月". / "2010 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leaves 245-253). / Abstract in Chinese and English. / Lu Zhihong. / 引言 --- p.1 / Chapter 第一章 --- 緒論 --- p.5 / Chapter 第一節 --- 才女與歷史研究 --- p.5 / Chapter 第二節 --- 前人關於汪端的研究 --- p.13 / Chapter 第三節 --- 本文章節安排與材料說明 --- p.22 / Chapter 第二章 --- 江南文化精英的生活和汪端的成長 --- p.25 / Chapter 第一節 --- 文化實力一振綺堂汪氏的冒起 --- p.25 / Chapter 第二節 --- 經濟基礎 --- p.35 / Chapter 第三節 --- 汪端的成長和教育 --- p.39 / Chapter 第四節 --- 汪端與汪、梁、許氏諸人關係的進一步思考 --- p.54 / Chapter 第三章 --- 汪端與陳家:婚姻生活中的空間 --- p.59 / Chapter 第一節 --- 陳汪聯姻 --- p.60 / Chapter 第二節 --- 力爭上遊的陳氏父子 --- p.65 / Chapter 第三節 --- 陳氏父子與汪端 --- p.75 / Chapter 第四節 --- 注端與陳家女眷 --- p.88 / Chapter 第五節 --- 才女與家庭 --- p.106 / Chapter 第四章 --- 汪端的詩歌編選及其意義 --- p.109 / Chapter 第一節 --- 編選詩文的傳統 --- p.109 / Chapter 第二節 --- 汪端和〈明三十家詩選〉 --- p.111 / Chapter 第三節 --- 〈明三十家詩選〉獲得的好評 --- p.119 / Chapter 第四節 --- 其他清代女性的詩選活動 --- p.124 / Chapter 第五節 --- 汪端和個人詩集的編選與刊行 --- p.132 / Chapter 第六節 --- 汪端編選行為的再思考 --- p.140 / Chapter 第五章 --- 汪端的歷史關懷 --- p.145 / Chapter 第一節 --- 汪端的詩、史愛好 --- p.146 / Chapter 第二節 --- 知人論世之途一作詩 --- p.151 / Chapter 第三節 --- 〈明三十家詩選〉中的明史 --- p.163 / Chapter 第四節 --- 汪端歷史關懷的主要特點和所受的影響 --- p.169 / Chapter 第五節 --- 汪端研究對才女歷史關懷的意義 --- p.177 / 結語 --- p.180 / 附錄一汪端(1793-1839)年譜 --- p.183 / "附錄二梁德繩〈小韞甥女于歸吳門以其愛詩為吟五百八十字送之即書明湖飲餞圖後〉及汪端的和詩〈辛未春日返棹武林賦呈楚生姨母,即用賜題明湖飲餞圖原韻〉" --- p.215 / 附錄三振綺堂及汪氏出版物清單 --- p.219 / 附錄四《清代學者像傳》中的汪端與陳裴之畫像 --- p.223 / 附錄五《自然好學齋集》 (振綺堂本)與《自然好學齋詩鈔》 (十卷本)的對比 --- p.224 / 附錄六《明十家詩選》的參閱者和校對者 --- p.236 / 附錄七能否斷定汪端的《元明逸史》為白話小說? --- p.239 / 參考書目 --- p.245