李漁의 戱曲創作의 新奇性 小考 - ≪閑情偶寄≫를 중심으로

Abstract

Li yu, who lived between Late-Ming Dynasty and Qing Dynasty, was a famous drama theorists, writers, thinkers, aesthetics in Ming and Qing Dynasties. “Xian Qing Ou Ji(≪闲情偶寄≫)”was one of the most important works in his life. Li Yu’s “Xian Qing Ou Ji” has been paid attention since being published. The discussion of its opera theory in certain chapters in which Ciand Qu Department(＜词曲部＞), Exercise and Performance Department(＜演习部＞), and Voice and Appearance Department(＜声容部＞) is fine and original, insightful and they have a far-reaching impact. From the opera theory in “XianQing Ou Ji”, with times and environment which this book is published and author’s special life experience. The full text is divided into three parts: foreword, text, and conclusion. The foreword mainly introduces the significance of the subjects for this article, the research angle and method, and the aspects of creativity. Beginning with the concept of “advocating novelty(尚新奇)” in Li Yu’s fiction has three contents: “no writing without wonder(非奇不传)”, “seeking wonder in the common(常中求奇)” and “homogeneity in novelty(新奇同质)”. This paper attempts to expound the embodiment of the concept of “homogeneity in novelty” in the style of comedy of Li Yu’s drama from subject matter, characterization, plot. The conclusion excavates Li Yu’s unique contribution to the opera theory. And summarizes the characteristics of opera theory in “XianQing Ou Ji” and explores its influence on the opera theory of later generation and points out its limitation, then expounds necessity to excavate its value.