《Return of the Dead》

Japanese: 《還魂記》 - かんこんき

…The Wanli period that followed (1573-1619) is said to be the period of cultural fertility, and many playwrights emerged. The most famous was Tang Xianzu of Linchuan, Jiangxi, who wrote The Purple Hairpin, The Return of the Soul, The Record of the Southern Ke, and The Record of Handan. Among them, The Return of the Soul was praised by women all over the world for its excellent literal structure and for its praise of the free nature of love. Meanwhile, there were different schools of song depending on the region, and they were called Haiyancun, Yiyangcun, Yuyaocun, etc., after the names of the places of origin. During the Jiajing period, the Kunqu tunes started by Wei Liangfu of Kunshan were well received and quickly spread to various places. …

From [Chinese Theatre]

At the beginning of the Jiajing period (1522-66), when the Suzhou Kunshan region's Kunqu was greatly improved by Wei Liangfu, its soft and elegant melody was very popular among the literati, and it overtook the traditional Haiyanqiang, Yiyangqiang, and Yuyaoqiang. It became a decisive trend when Liang Chenyu wrote "Kanshaji" using this melody. In the following Wanli period (1573-1619), the most outstanding writer was Tang Xianzu, whose masterpiece "Return of the Soul" is considered the greatest masterpiece of Southern Opera. With elegant and elegant language and skillful composition, it depicts the culmination of a sweet and sweet drama about talented and beautiful people, full of twists and turns. During the same period, many writers such as Shen Jing, who was knowledgeable about music, appeared, and Southern Opera reached its heyday. …

From [Tang Xianzu]

…In poetry, Wang Shizhen and others praised the Qin and Han dynasties for literature and the Tang dynasty for poetry as the highest classics, and advocated the imitation of these dynasties. He opposed this completely, insisting that the poetry of the Six Dynasties and the Song dynasty should also be respected, and had a great influence on Qian Qianyi of the Qing dynasty. In terms of plays, he wrote The Purple Hair Clip, The Return of the Soul, The Record of the Southern Guard, and The Record of Handan, all of which are deeply related to dreams, and so he named them The Four Dreams of the Gyokuming Hall after the name of his study. In particular, The Return of the Soul, with its unique structure that intertwines dreams and reality, and its plot in which a young man and woman's love is fulfilled beyond life and death, won the acclaim of the children of the world. …

*Some of the terminology referenced in "Resurrection" is listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

Japanese:

…これに続く万暦年間(1573‐1619)は文化の爛熟期といわれるが，数多くの劇作家が輩出した。最も著名なのは江西臨川の湯顕祖で，《紫釵記》《還魂記》《南柯記》《邯鄲記》の作があり，中でも《還魂記》は文辞構成ともにすぐれ，かつ恋愛の自由な姿を謳歌したので，天下の子女の喝采を博した。　ところで，歌辞をうたうには土地によって流派を異にし，発祥の地名を冠して海塩腔･弋陽腔（よくようこう）･余姚腔などと称していたが，嘉靖年間に崑山の魏良輔がはじめた崑曲の調べが好評で，急速に各地に伝播した。…

【中国演劇】より

…　嘉靖年間(1522‐66)の初め，蘇州崑山地方の〈崑腔(崑曲)〉が魏良輔によって大改良されるや，その清柔優美なメロディは文人の好尚にすこぶるかない，従来の海塩腔，弋陽（よくよう）腔，余姚（よよう）腔等をおさえてはやり出し，これを用いて作られた梁辰魚の《浣紗記》により，決定的な流行をみるようになった。続く万暦年間(1573‐1619)にもっとも傑出した作家が湯顕祖で，彼の代表作《還魂記》は南戯の最高傑作とされ，典雅艶麗な文辞と巧みな構成とを得て，曲折波瀾にとんだ甘美な才子佳人劇の一極致を描いた。また同時期には音律にくわしい沈璟（しんえい）ほか多くの作者が輩出し，南戯の全盛期をむかえるにいたった。…

【湯顕祖】より

…詩文の上では，王世貞らが〈文は秦漢，詩は盛唐〉を最高の古典として称揚し，もっぱらこれらの模擬をとなえたのに対し，まっこうから反対して，六朝や宋の詩文をも尊重すべきことを主張し，清の銭謙益に大きな影響を与えた。劇作の上では《紫釵記》《還魂記》《南柯記》《邯鄲記》を書き，いずれも内容が夢と関係が深いので，その書斎の名を冠して《玉茗堂四夢》とよんでいる。とくに《還魂記》は夢と現実を交錯させる特異な構成の中で，青年男女の恋愛を生死をこえて成就させる筋で，天下の子女の喝采を博した。…

※「《還魂記》」について言及している用語解説の一部を掲載しています。

出典｜株式会社平凡社世界大百科事典第２版について | 情報

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