Injustice to Dou E (Dou E Yuan)
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Guan Hanqing was a famous Zaju (the Yuan Drama) playwright of the Yuan Dynasty, and one of the representative figures of ancient Chinese opera play writers as well. His best known work is Injustice to Dou E, which is one of "the four great tragedies of the Yuan Drama", the other three being Autumn in the Han Palace by Ma Zhiyuan, The Firmiana Rain by Bai Pu and The Orphan of Zhao by Ji Junxiang.
The period Guan Hanqing lived in was a time characterized by political corruption, social turbulences, and sharp class and national contradictions (mainly those between Meng and Han ethnic groups). People were living in great misery. Guan Hanqing's plays vividly reenact social reality and have a strong tinge of that period.
Injustice to Dou E exposes the dark side of the society of the Yuan Dynasty through the tragic death of a girl named Dou E. The heroine loses her mother at the age of 7 and is separated from her father at 10, when she was sold as a child bride to offset the debt. Not long after she grows up and gets married, her husband dies. Later she is subjected to the bullying and humiliation of hooligans and gangsters. As a result, she is wrongly accused of involvement in a murder case. Under the torture of the corrupt interrogating officials, she confesses to the false charge and is sentenced to death.
Being wronged, Dou E strongly condemns the corrupt officials, the heaven and the earth at the execution ground, vowing to retaliate against the injustice of real life. She makes three pledges before being executed - snowfalls in June, all her blood splitting on the 3-feet white silk sheet, and 3 years' drought in the local area. All three pledges are realized in due time. After her death, Dou E turns into a ghost and continues fighting for justice. Finally, her wrong is righted. The hooligans and corrupt officials have got what they deserve. Justice prevails.
Through the depiction of Dou E, a kindhearted and unyielding girl resisting the feudal forces, the play expresses the author's heart-felt compassion for the oppressed people and strong denouncement against the dark side of society. It is an immortal treasure shining through the history of Chinese literature.
Guan Hanqing was a famous Zaju (the Yuan Drama) playwright of the Yuan Dynasty, and one of the representative figures of ancient Chinese opera play writers as well. His best known work is Injustice to Dou E, which is one of "the four great tragedies of the Yuan Drama", the other three being Autumn in the Han Palace by Ma Zhiyuan, The Firmiana Rain by Bai Pu and The Orphan of Zhao by Ji Junxiang.
The period Guan Hanqing lived in was a time characterized by political corruption, social turbulences, and sharp class and national contradictions (mainly those between Meng and Han ethnic groups). People were living in great misery. Guan Hanqing's plays vividly reenact social reality and have a strong tinge of that period.
Injustice to Dou E exposes the dark side of the society of the Yuan Dynasty through the tragic death of a girl named Dou E. The heroine loses her mother at the age of 7 and is separated from her father at 10, when she was sold as a child bride to offset the debt. Not long after she grows up and gets married, her husband dies. Later she is subjected to the bullying and humiliation of hooligans and gangsters. As a result, she is wrongly accused of involvement in a murder case. Under the torture of the corrupt interrogating officials, she confesses to the false charge and is sentenced to death.
Being wronged, Dou E strongly condemns the corrupt officials, the heaven and the earth at the execution ground, vowing to retaliate against the injustice of real life. She makes three pledges before being executed - snowfalls in June, all her blood splitting on the 3-feet white silk sheet, and 3 years' drought in the local area. All three pledges are realized in due time. After her death, Dou E turns into a ghost and continues fighting for justice. Finally, her wrong is righted. The hooligans and corrupt officials have got what they deserve. Justice prevails.
Through the depiction of Dou E, a kindhearted and unyielding girl resisting the feudal forces, the play expresses the author's heart-felt compassion for the oppressed people and strong denouncement against the dark side of society. It is an immortal treasure shining through the history of Chinese literature.
Guan Hanqing
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Guan Hanqing (1241-1300), a prominent playwright and poet of the Yuan Dynasty (1271-1368) with the style name Zhaisou, was born in the city of Xiezhou, Shanxi province and was talented at the game of go, dancing, musical instruments, and the theater. He produced 60 plays, 13 of which still exist, including "The Injustice to Dou E", "Saving the Dust in thewind" and "The Moon-worship Pavilion". He has been described as one of the most prolific, highly regarded dramatists of the Yuan.
Guan Hanqing (1241-1300), a prominent playwright and poet of the Yuan Dynasty (1271-1368) with the style name Zhaisou, was born in the city of Xiezhou, Shanxi province and was talented at the game of go, dancing, musical instruments, and the theater. He produced 60 plays, 13 of which still exist, including "The Injustice to Dou E", "Saving the Dust in thewind" and "The Moon-worship Pavilion". He has been described as one of the most prolific, highly regarded dramatists of the Yuan.
China should prevent Xiqu from being lost in translation
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Translation is the first thing to consider when China introduces Xiqu, an important art form, to foreign countries. As the 20th century was Westerners' century, Xiqu was translated as Chinese opera, and its regional branches Jingju, Yuju, and Yueju were translated as Peiking opera, Henan opera, and Yue opera respectively. Although Xiqu is a comprehensive art form with unique and attractive Chinese characteristics, and is different from Western opera. It was blameless at the time to translate Xiqu as Chinese opera, which Westerners found easier to understand and accept.
Xiqu has a long history in China. There have been great dramatists such as Guan Hanqing, Wang Shifu, Tang Xianzu, and Hong Sheng, as well as classic Xiqu works like The Injustice to Dou E, The Orphan of Zhao, The Story of the Western Wing, The Peony Pavilion, The Palace of Eternal Life, and The Peach Blossom Fan. The Injustice to Dou E and The Orphan of Zhao were introduced to foreign countries in the 17th century, and gained great popularity there. Excellent Xiqu theorists such as Li Yu have created a complete set of Chinese Xiqu theories and terminologies. However, after Western theaters entered China at the beginning of last century, "modern theater" plays gradually dominated Chinese theoretical stages. Xiqu became an "outdated theater", and traditional Xiqu theories and terminologies were replaced by their Western counterparts.
By contrast, Westerners stubbornly stick to their own culture. According to an article written by a German published on Global Times last year, many Western observers remain blissfully ignorant about the Chinese language and refuse to adopt Chinese terminologies into their China reports. They instead describe and interpret Chinese culture on the back of their own Western taxonomies and concepts. Most Western academics frequently replace Chinese originality with Western biblical or philosophical translations, and therefore present exactly the image of China that they want to see: a place of zero originality. There are now "Chinese religions", "Chinese saints", and "Chinese gods", and so on. Yet, you will find that what these scholars "translated" from the Chinese words jiao, shengren, and shen, do not bear any historical or meaningful resemblances to those Western terminologies.
Westerners stick to their own culture probably because they feel confident with it. Chinese culture has a long history with its own unique charm. There is nothing wrong with improving Chinese culture by drawing upon and absorbing foreign cultures, but Chinese must not lose its cultural identity or confidence in this process.
As China's international clout increases steadily in the 21st century, it should phase out some Western culture-centered naming and translation habits. Xiqu is conquering the world with its unique oriental charm, just like artist Mei Lanfang amazed the United States and Europe in last century. It is time for Xiqu to replace Chinese opera as the standard translation for the traditional Chinese art form. The International Theatre Institute (ITI) suggested that the theme of the 33rd ITI World Congress held in Xiamen should be "Empowering the Performing Arts: Journey through Xiqu". The translation for Xiqu is an important thing, and the organizer finally adopted "Xiqu" as the official translation for the art form after carefully considering the advice from experts and scholars. By the same token, the Beijing and Henan branches of Xiqu are translated as Jingju and Yuju. The ITI and participants from other countries all agreed that the terms could be translated this way. Chinese and Western cultures and operas have their own merits. Chinese should learn about and draw upon international terminologies, but cannot slavishly imitate Western culture, or leave Chinese culture or Xiqu lost in translation.
Translation is the first thing to consider when China introduces Xiqu, an important art form, to foreign countries. As the 20th century was Westerners' century, Xiqu was translated as Chinese opera, and its regional branches Jingju, Yuju, and Yueju were translated as Peiking opera, Henan opera, and Yue opera respectively. Although Xiqu is a comprehensive art form with unique and attractive Chinese characteristics, and is different from Western opera. It was blameless at the time to translate Xiqu as Chinese opera, which Westerners found easier to understand and accept.
Xiqu has a long history in China. There have been great dramatists such as Guan Hanqing, Wang Shifu, Tang Xianzu, and Hong Sheng, as well as classic Xiqu works like The Injustice to Dou E, The Orphan of Zhao, The Story of the Western Wing, The Peony Pavilion, The Palace of Eternal Life, and The Peach Blossom Fan. The Injustice to Dou E and The Orphan of Zhao were introduced to foreign countries in the 17th century, and gained great popularity there. Excellent Xiqu theorists such as Li Yu have created a complete set of Chinese Xiqu theories and terminologies. However, after Western theaters entered China at the beginning of last century, "modern theater" plays gradually dominated Chinese theoretical stages. Xiqu became an "outdated theater", and traditional Xiqu theories and terminologies were replaced by their Western counterparts.
By contrast, Westerners stubbornly stick to their own culture. According to an article written by a German published on Global Times last year, many Western observers remain blissfully ignorant about the Chinese language and refuse to adopt Chinese terminologies into their China reports. They instead describe and interpret Chinese culture on the back of their own Western taxonomies and concepts. Most Western academics frequently replace Chinese originality with Western biblical or philosophical translations, and therefore present exactly the image of China that they want to see: a place of zero originality. There are now "Chinese religions", "Chinese saints", and "Chinese gods", and so on. Yet, you will find that what these scholars "translated" from the Chinese words jiao, shengren, and shen, do not bear any historical or meaningful resemblances to those Western terminologies.
Westerners stick to their own culture probably because they feel confident with it. Chinese culture has a long history with its own unique charm. There is nothing wrong with improving Chinese culture by drawing upon and absorbing foreign cultures, but Chinese must not lose its cultural identity or confidence in this process.
As China's international clout increases steadily in the 21st century, it should phase out some Western culture-centered naming and translation habits. Xiqu is conquering the world with its unique oriental charm, just like artist Mei Lanfang amazed the United States and Europe in last century. It is time for Xiqu to replace Chinese opera as the standard translation for the traditional Chinese art form. The International Theatre Institute (ITI) suggested that the theme of the 33rd ITI World Congress held in Xiamen should be "Empowering the Performing Arts: Journey through Xiqu". The translation for Xiqu is an important thing, and the organizer finally adopted "Xiqu" as the official translation for the art form after carefully considering the advice from experts and scholars. By the same token, the Beijing and Henan branches of Xiqu are translated as Jingju and Yuju. The ITI and participants from other countries all agreed that the terms could be translated this way. Chinese and Western cultures and operas have their own merits. Chinese should learn about and draw upon international terminologies, but cannot slavishly imitate Western culture, or leave Chinese culture or Xiqu lost in translation.
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