Проблемы литератур Дальнего Востока. Часть 1

Секция 2 • Panel 2 Проблемы литератур Дальнего Востока. Т. 1. 2018 176 㩜࢞ ћ 䛓௜᡽DŽ Chop those bastards to tens of thousands of pieces. (c-ai 2 ), 6 (5), ᒣ ; ӴӴ ᑈ Ӵᒣᒣ ⡦㿚ˈ Father! Եᇜ៦ᢰ⢕ ܧ ᬎᇜ䘣՛ DŽ Change the evidence given by me . (l-ai 2 ), 10 (0), ᒣ ; ҙᑈҙᑈҙᑈҙᑈҙᑈ Results of the rhythmic analysis: The total number of syllables in each line: 8–6-6–8-5–5-3–6. The quantity of basic words: 5–5-5–5-2–5-2–5. Scheme of final rhymes in the aria: а-а-а-а-а-b-а-а-а. Tonic scheme of the final syllables in the aria: ᒣᒣӴᒣᒣᒣӴᒣᒣ . In second, third and fourth arias Guan Hanqing inserts more chenzi than in the first one. Here we see the scene of dialogue between Dou E and her father. They have not met for a long time. Dou Tianzhang can not recognize his daughter. The atmosphere is more tense, the heroine wants to say more words, telling her father about herself. That is why Guan Hanqing inserts a lot of chenzi . In three cases he inserts even whole lines. The rhythmic and tonic schemes shows us that Guan Hanqing generally was very few concerned about the rhythmic organization in each stroke. He did not limit himself to any obvious convention and inserted chenzi only if they fitted at the content level of meaning. But he put more attention to the final syllable in each stroke and seeked to those ones that should be rhymed with other final syllables in the aria. Mironova Tatiana (SPbSU, Russia) The Main Audience of the Genre Nihuaben by Feng Menglong The following article is devoted to the problem of identifying the main audience of the genre nihuaben ᤏ䈍ᵜ —huaben imitation, which became one of the most significant genres of Ming dynasty and popularized by Feng Menglong. Ni huaben is usually said to be the genre of vernacular literature oriented on “the common ear”, however some facts make us question this statement. Keywords: Feng Menglong, huaben, nihuaben, Ming literature