Проблемы литератур Дальнего Востока. Часть 1

Новые вопросы изучения классической китайской литературы... Issues of Far Eastern Literatures. Vol. 1. 2018 165 ᯠ䂙njˈᇩ᱃⺜ॆ৺ᔦ㒼䙏䁈ᔿⲴ䃔ちDŽ ٷ ྲ丫ᖻⲴ丣′㖾઼ᔪㇹ㖾ᱟ╒䃎 ⢩䌚Ⲵਸ⨶ᨀ❹ˈ丫ᖻ䂙нն䚿䕟кਟ䮧ᆈˈᴤਟ㒬㒼㶽ᴳӺਔˈ᧘䲣ࠪ ᯠˈ᢯ ݸ ஏᖼDŽ䰌䦥൘Ѿ㰍㺃ሖ䑀DŽ Maiatckii Dmitri (SPbSU, Russia) The Use of Chenzi in Yuanqu of 13–14 Centuries In the paper the author examines the main features of the use of so called “inserted words” (or chenzi), frequently seen in zaju-plays or separate qu-arias of Yuan period (1279–1368). The main tasks of the paper are to describe the phenomenon of chenzi, to explain their nature and functioning in the texts of arias, as well as to discuss the issue of their detection. Some attention is put to rhythmic analysis of arias, undertaken for getting understanding of how the chenzi are integrated into the poetics of the arias. All of these tasks are solved with the help of examples, partly taken from Guan Hanqing’s (1230–1300) compositions, because he was considered to be a father of zaju canon. Keywords: zaju, yuanqu, chenzi, zhengzi, Chinese drama, poetic techniques. Yuanqu ( ݳ ᴢ , that means: “Yuan arias”) is a poetic form, popular in China during the rule of Yuan Dynasty (1279–1369). It is firmly associated with the Chinese classical drama of the 13–14 th centuries, usually known under the name of “ Yuan zaju ” ( ݳ ᵲࢗ , that means: “Yuan mixed performances”) or simply called “Yuan drama”, since “Yuan arias” are included in the texts of these dramas and form the most valuable part of them. Yuan drama in Russian sinology has been studied comparatively deeply. Sinologist Vladislav F. Sorokin in 1978 published a monograph  1 about it, where he analyses plots of all the existing Yuan plays, as well as many of their artistic features. Several other Russian scholars (Such as Menshikov L. N., Petrov V. V., Pozdneeva L. D., Serebryakov E. A., Sorokin V. F., Fedorenko N. T. etc.) devoted some their papers to the study on the life and works of the most eminent playwrights  2 . But no one of them undertook a separate investigation 1 Сорокин В. Ф. Китайская классическая драма XIII–XIV вв. М.: Наука, 1979. 2 See: Меньшиков Л. Н. К вопросу об авторе «Западного флигеля» // Проблемы востоковедения. 1961, №2, с. 149–151; Меньшиков Л. Н. О новейших изданиях пьесы «Западный флигель» // НАА. 1961, № 6, с. 165–167; Петров В. В. Юаньская драма // Юаньская драма. М.-Л., 1966. С. 5–26; Позднеева Л. Д . Литература эпохи монгольского завоевания (XIII–XIV вв.) // Литература Востока в средние века: Учебник. М., 1970, с. 173–205; Серебряков Е. А . О пьесе юаньского драматурга Ма Чжи-юаня «Осень в Ханьском дворце» // Филология стран Востока. Л., 1963, с. 110–125; Сорокин В. Ф. Пьесы «даосского цикла» — жанровая разновидность цзацзюй 13–14 вв. // Жанры