Stephen H. West – författare

The Story of the Western Wing, one of China's most famous love operas, tells the story of Student Zhang and a teenage girl named Oriole who begin a passionate relationship in a Chinese monastery. The couple are promised to each other but only if Student Zhang passes the highest level of civil examinations. However, while he is away, another suitor, a boorish cad, manages to elicit a marriage promise for Oriole based on familial relations, and Student Zhang is turned away by Oriole's mother upon his return. The pair of lovers run away to elope but are followed by the new suitor, who throws himself down stone stairs to commit suicide upon being rebuffed. The story is a powerful account of young love. Stephen H. West's translation draws upon an earlier version of the story by Dong Jieyuan, a talented writer who had a wit to match Oscar Wilde. Dong's is the only fully extant text of this musical ballad from the heyday of its performance in the thirteenth-fifteenth centuries, and until now, has only existed in Ming editions. The Story of the Western Wing is critical to understanding Chinese vernacular and performative literature, and this translation--accompanied by explanatory notes from a distinguished scholar of Chinese drama--offers a unique perspective on literary and social values in China's early modern period.

This is the first anthology of Yuan-dynasty zaju (miscellaneous comedies) to introduce the genre to English-speaking readers exclusively through translations of the plays' fourteenth-century editions. Almost all previous translations of Yuan-dynasty zaju are based on late-Ming regularized editions that were heavily adapted for performance at the Ming imperial court and then extensively revised in the seventeenth century for the reading pleasure of Jiangnan literati. These early editions are based on leading actor scripts and contain arias, prose dialogue, and cue lines. They encompass a fascinating range of subject matter, from high political intrigue to commoner life and religious conversion. Crackling with raw emotion, violent imagery, and colorful language and wit, the zaju in this volume explore the consequences of loyalty and betrayal, ambition and enlightenment, and piety and drunkenness. The collection features seven of the twenty-six available untranslated zaju published in the fourteenth century, with a substantial introduction preceding each play and extensive annotations throughout.The editors also include translations of the Ming versions of four of the included plays and an essay that synthesizes recent Chinese and Japanese scholarship on the subject.

Playwriting in many forms flourished during the late Ming and early Qing dynasties. Shorter theatrical genres in particular offered playwrights opportunities for experimentation with both dramatic form and social critique. Despite their originality and wit, these short plays have been overshadowed by the lengthy masterpieces of the southern drama tradition.A Topsy-Turvy World presents English translations of shorter sixteenth-to-eighteenth-century plays, spotlighting a lesser-known side of Chinese drama. Satirical and often earthy, these mostly one-act plays depict deceit, dissembling, reversed gender roles, and sudden upending of fortunes. With zest and humor, they portray henpecked husbands, supercilious and lustful monks, all-too-human sage kings, disgruntled officials, and overreaching young scholars. These plays provide a glimpse of Chinese daily life and mores even as they question or subvert the boundaries of social, moral, and political order.Each translation is preceded by a short introduction that describes the play’s author, context, formal qualities, and textual history. A Topsy-Turvy World offers a new view of a significant period in the development of the Chinese theatrical tradition and provides insight into the role of drama as cultural critique.

Playwriting in many forms flourished during the late Ming and early Qing dynasties. Shorter theatrical genres in particular offered playwrights opportunities for experimentation with both dramatic form and social critique. Despite their originality and wit, these short plays have been overshadowed by the lengthy masterpieces of the southern drama tradition.A Topsy-Turvy World presents English translations of shorter sixteenth-to-eighteenth-century plays, spotlighting a lesser-known side of Chinese drama. Satirical and often earthy, these mostly one-act plays depict deceit, dissembling, reversed gender roles, and sudden upending of fortunes. With zest and humor, they portray henpecked husbands, supercilious and lustful monks, all-too-human sage kings, disgruntled officials, and overreaching young scholars. These plays provide a glimpse of Chinese daily life and mores even as they question or subvert the boundaries of social, moral, and political order.Each translation is preceded by a short introduction that describes the play’s author, context, formal qualities, and textual history. A Topsy-Turvy World offers a new view of a significant period in the development of the Chinese theatrical tradition and provides insight into the role of drama as cultural critique.

This is the most extensive study of Chin dynasty history in any language. It demonstrates the importance of cultural developments in North China under the Chin (1115-1234).

Love affairs of the young men from eminent families and the courtesans who were trained to entertain (and to fleece) them were a popular theme in the Chinese vernacular literature of the thirteenth and fourteenth centuries. The stories of these happy and disastrous affairs were popular with all genres of performative literature. This volume offers a representative selection of texts on the grandeur et misère of the working girls and their Chinese and Jurchen patrons. Alongside popular works by famous playwrights such as Guan Hanqing and Shi Junbao, This volume also offers a wide range of scintillating texts by lesser known and anonymous authors.

Love and marriage are perennial topics on stage in East and West. From the very beginning of Chinese theatre, stories of passion and seduction have been popular with playwrights and audiences. Many of the such plays show the influence of the famous love comedy West Chamber by featuring a scene in which a young man attracts, intended or not, the attention of a young girl by his performance on the zither. Once married, smart wives strengthen their virtuous grooms in their resolve and improve the ways of their erring husbands. As lovers and wives the female protagonists in these plays are anything but subservient characters—they display remarkable bravery, daring, and ingenuity. They are sometimes the initiator of a relationship, and they are usually the character that resolves problems that occur in the course of their marriage or in the course of pursuing marriage. Only one of these plays has been translated earlier into English. Together, the selection reveals the continuing vitality of Northern drama (zaju) well into the Ming dynasty.

This book offers a complete translation of four early plays of the Yang Family Generals. The story of the Yang Family Generals, particularly its female generals, was a perennial favorite on the Chinese stage in the 19th and 20th centuries. In detailing the role of this military family in the Song-Khitan wars of the late 10th and early 11th centuries, these four plays are all in the form of zaju, a type of play that originated in the 13th century. These plays are from the 15th and 16th centuries and allow a glimpse into earlier renditions of the Yang Family saga, which is a decidedly more male-centered tradition than that performed in the Qing dynasty.This volume offers the only complete English-language translation of these early plays. These plays allow access to the earliest phase in the development of the Yang Family saga. The plays provide information on the staging of large battle scenes on the stage and have considerable literary and cultural value.