| Summary: | 碩士 === 國立中央大學 === 中國文學系 === 106 === ABSTRACT
There is one mainly through conflicts in Chinese classical drama, through the protagonist facing the external conflicts and internal conflicts to achieve their dramatic task, the color of tragedy is conspicuous by them. The audience can reflect the reactions of life from the protagonist to introspect. Beside the conflicts, the tragedy plot also needs changes and unfortunate events to cooperate with each other, so that the audience can be fully involved in the emotional thinking of the role of the combination. Different from the Western mainstream tragedy theory, China generally to complete in perfectly, the play may also include comedy and humor, the author believes that the reason lies in the hope that the story as a moral education, rigorous and serious, but do not let people adhere to it, easy way on the one hand can cater to the audience's preferences, On the other side can take out the audience’s sadness to calm down the mood. However, this comic has led many scholars to assert that the Chinese tragedy does not exist.
Ji Junxiang's "Orphan of Zhao" is a rich tragic drama, which contains the irony of the trap and the great spirit of the Chinese nation. During the 18th century, the play was translated into French, English, etc. spread to the continent of Europe, and passed such as British writer William Hatchett's "Chinese Orphan: A historical tragedy"and other adaptation rewriting as well as the Enlightenment thinkers Voltaire's drama "China Orphan" and so on, the sparks of communication between Chinese and Western cultures are glowing in a strange land of curiosity to explore China's imperial culture and Confucian virtue.
Finally, the author tried to study the tragic problems related to Chinese classical drama by analyzing the three aspects of "plot adaptation", "character image shaping" and "tragic manipulation using", respectively using the Western tragedy theory and Wang Jisi's Chinese tragic idea.
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