The Tang Xianzu Memorial Hall in Fuzhou is a comprehensive cultural venue built to commemorate Tang Xianzu, one of the world’s hundred great cultural figures and a master of Ming‑dynasty drama in China. It is also one of Jiangxi Province’s ten major memorial halls dedicated to historical luminaries.
Good Article Sharing | Wudu in the Jin Dynasty: One of the Origins of the Story Behind “The Peony Pavilion”
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Tang Xianzu Memorial Hall Official Account
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2024-06-14
Wudu in the Jin Dynasty: One of the Origins of the Story of “The Peony Pavilion”
Zou Zizhen
The over-five-thousand-year history of the Chinese nation is a chronicle of continuous self-renewal, in which each wave of reform has unleashed fresh momentum for progress. Throughout those reform movements—momentous in their time and enduringly beneficial to future generations—there emerged a spirit of innovation and a culture of reform that have become integral components of China’s outstanding traditional culture.
The Ming‑dynasty Chinese dramatist Tang Xianzu (1550–1616) was a distinguished exemplar of this spirit of innovation and reformist culture.
The Ming‑dynasty Chinese dramatist Tang Xianzu (1550–1616) was a distinguished exemplar of this spirit of innovation and reformist culture.
With regard to inheritance and innovation, as early as the fifth and sixth centuries AD, Liu Xie, in his work “The Literary Mind and the Carving of Dragons: On Adaptation,” put forward the principle of “gathering understanding through emotion and adapting to change with vigor.”
“Tong” refers to the fact that, throughout the course of literary development, certain fundamental principles of creation must be inherited by every generation; “bian” signifies that literary creation must evolve and innovate in tandem with the times and the ongoing progress of literature.
“Tong” refers to the fact that, throughout the course of literary development, certain fundamental principles of creation must be inherited by every generation; “bian” signifies that literary creation must evolve and innovate in tandem with the times and the ongoing progress of literature.
Indeed, the development of literature in every era must—and inevitably does—bear the imprint of the literary heritage of preceding generations.
Tang Xianzu’s dramatic cycle, the “Four Dreams of Linchuan,” is a groundbreaking masterpiece that both inherits and reforms the traditions of Wei-Jin supernatural tales, Tang dynasty chuanqi narratives, Yuan zaju plays, and Ming‑dynasty huaben fiction, while also reflecting the distinctive cultural milieu of the mid‑to‑late Ming period in which he lived.
In particular, Tang Xianzu’s masterpiece, The Peony Pavilion, both inherits the legacy of The West Chamber and anticipates the emergence of Dream of the Red Chamber; it stands as a towering pinnacle of China’s Romantic literary tradition, remaining ever-present on stage for four centuries.
Since the beginning of the twenty-first century, with Kunqu Opera being inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity and the “youth‑oriented” production of The Peony Pavilion touring the world, Tang Xianzu and his Four Dreams of Linchuan have been transitioning from a “beautiful classical tradition” to a “youthful modernity.”
Tang Xianzu’s dramatic cycle, the “Four Dreams of Linchuan,” is a groundbreaking masterpiece that both inherits and reforms the traditions of Wei-Jin supernatural tales, Tang dynasty chuanqi narratives, Yuan zaju plays, and Ming‑dynasty huaben fiction, while also reflecting the distinctive cultural milieu of the mid‑to‑late Ming period in which he lived.
In particular, Tang Xianzu’s masterpiece, The Peony Pavilion, both inherits the legacy of The West Chamber and anticipates the emergence of Dream of the Red Chamber; it stands as a towering pinnacle of China’s Romantic literary tradition, remaining ever-present on stage for four centuries.
Since the beginning of the twenty-first century, with Kunqu Opera being inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity and the “youth‑oriented” production of The Peony Pavilion touring the world, Tang Xianzu and his Four Dreams of Linchuan have been transitioning from a “beautiful classical tradition” to a “youthful modernity.”
Tang Xianzu’s dramatic works maintain a profound historical connection with other artistic forms of ancient China.
His “Four Dreams of Linchuan” are closely linked to the tradition of classical Chinese fiction. Tang Xianzu not only drew upon the finest elements of the Wei-Jin period’s supernatural tales, the Tang dynasty’s legendary narratives, and the Ming‑era vernacular short stories to enrich his dramatic works, but he also transformed the mundane into the magical, turning the “Four Dreams” into masterpieces that have left an indelible mark on the history of Chinese literature.
His “Four Dreams of Linchuan” are closely linked to the tradition of classical Chinese fiction. Tang Xianzu not only drew upon the finest elements of the Wei-Jin period’s supernatural tales, the Tang dynasty’s legendary narratives, and the Ming‑era vernacular short stories to enrich his dramatic works, but he also transformed the mundane into the magical, turning the “Four Dreams” into masterpieces that have left an indelible mark on the history of Chinese literature.
All five of Tang Xianzu’s dramatic works were derived from and elaborately adapted from his earlier novels. “The Tale of the Purple Flute” and “The Tale of the Purple Hairpin” both originated in Jiang Fang’s Tang‑dynasty story, “The Tale of Huo Xiaoyu.”
“The Peony Pavilion” was adapted from the Ming‑dynasty vernacular tale “Du Liniang’s Love and Resurrection,” and it also shares literary roots with Tang‑dynasty stories such as Wen Tingyun’s “The Magistrate of Huazhou.”
“The Story of the Southern Bough” and “The Story of Handan” are respectively based on Li Gongzuo’s “The Tale of the Southern Bough” and Shen Jiji’s “The Dream Under the Pillow,” both works from the Tang dynasty.
“The Peony Pavilion” was adapted from the Ming‑dynasty vernacular tale “Du Liniang’s Love and Resurrection,” and it also shares literary roots with Tang‑dynasty stories such as Wen Tingyun’s “The Magistrate of Huazhou.”
“The Story of the Southern Bough” and “The Story of Handan” are respectively based on Li Gongzuo’s “The Tale of the Southern Bough” and Shen Jiji’s “The Dream Under the Pillow,” both works from the Tang dynasty.
“The Peony Pavilion, or the Story of the Resurrection,” which proclaims, “Of all the four dreams of a lifetime, only the peony brings me true delight,” was adapted primarily from the Ming‑dynasty vernacular tale “Du Liniang’s Love and Her Resurrection.” This is an indisputable fact.
Yet the influence of the Wei-Jin “zhi guai” tales and the Tang dynasty’s legendary narratives on the creation of The Peony Pavilion is often underestimated. In his Preface to The Peony Pavilion, Tang Xianzu explicitly states:
Yet the influence of the Wei-Jin “zhi guai” tales and the Tang dynasty’s legendary narratives on the creation of The Peony Pavilion is often underestimated. In his Preface to The Peony Pavilion, Tang Xianzu explicitly states:
The tale of Magistrate Du is modeled on the incidents involving Li Zhongwen, governor of Wudu during the Jin dynasty, and Feng Xiaojiang, governor of Guangzhou, though I have slightly adapted and elaborated upon them. As for Magistrate Du’s interrogation and flogging of Liu Sheng, it too echoes the manner in which King Xuyang of the Han dynasty subjected Tan Sheng to torture and punishment.
“The tale transmitted by Magistrate Du” refers to the vernacular story “Du Liniang’s Love and Resurrection,” which appears in Volume Nine of He Dalun’s “Yanjú Bǐjì.” The author is Chao Luo, who passed the imperial examination in the twenty-seventh year of the Jiajing reign (1548).
The original vernacular tale was written in a bland, unremarkable style and lacked literary flair; yet Tang Xianzu discerned from it the profound, affirmative meaning of young women living under the shackles of feudalism—women who refused to yield to fate and fought for their own happiness—and resolutely adapted the tale into a legendary play.
The original vernacular tale was written in a bland, unremarkable style and lacked literary flair; yet Tang Xianzu discerned from it the profound, affirmative meaning of young women living under the shackles of feudalism—women who refused to yield to fate and fought for their own happiness—and resolutely adapted the tale into a legendary play.
Compared with the vernacular storybooks, the play exhibits the following similarities and differences: First, key scenes in The Peony Pavilion—such as Act 10, “Startled Dream”; Act 12, “Seeking the Dream”; Act 14, “Portrait”; Act 20, “Disturbance at the Funeral”; Act 24, “Picking Up the Painting”; Act 26, “Playing with Reality”; Act 28, “Secret Union”; Act 32, “Oath in the Underworld”; and Act 35, “Revival”—already appear in rudimentary form in the storybooks. On this rough foundation, Tang Xianzu undertook artistic refinement, enriching the work with more vivid portrayals of social life.
Second, in the original vernacular version, both Du and Liu’s fathers hold the post of the current prefect, making their families equally matched and ensuring that their marriage proceeds without a hitch; by contrast, in the opera, Liu Mengmei is but a penniless scholar, and his love for Du Liniang repeatedly meets with obstruction.
Third, Du Bao in “The Peony Pavilion,” who is promoted from a prefect to a Grand Chancellor of Military and Civil Affairs, becomes a magnificently powerful feudal official—a quintessential example of the “old‑fashioned” feudal patriarch.
Fourth, the character of the elderly scholar Chen Zuilang in The Peony Pavilion does not appear in the original vernacular version; he must be a new creation by Tang Xianzu.
Fifth, the vernacular tale concludes with Liu Mengmei appointed as the prefect of Lin’an, while Du Liniang gives birth to two sons, both of whom rise to high office; husband and wife enjoy honor and prosperity, and she dies at a ripe old age. By contrast, though The Peony Pavilion ends with an imperial decree granting reunion, Du’s father steadfastly refuses to acknowledge Du Liniang and Liu Mengmei’s union as a free marriage.
Second, in the original vernacular version, both Du and Liu’s fathers hold the post of the current prefect, making their families equally matched and ensuring that their marriage proceeds without a hitch; by contrast, in the opera, Liu Mengmei is but a penniless scholar, and his love for Du Liniang repeatedly meets with obstruction.
Third, Du Bao in “The Peony Pavilion,” who is promoted from a prefect to a Grand Chancellor of Military and Civil Affairs, becomes a magnificently powerful feudal official—a quintessential example of the “old‑fashioned” feudal patriarch.
Fourth, the character of the elderly scholar Chen Zuilang in The Peony Pavilion does not appear in the original vernacular version; he must be a new creation by Tang Xianzu.
Fifth, the vernacular tale concludes with Liu Mengmei appointed as the prefect of Lin’an, while Du Liniang gives birth to two sons, both of whom rise to high office; husband and wife enjoy honor and prosperity, and she dies at a ripe old age. By contrast, though The Peony Pavilion ends with an imperial decree granting reunion, Du’s father steadfastly refuses to acknowledge Du Liniang and Liu Mengmei’s union as a free marriage.
“The tale of Li Zhongwen, governor of Jinwu, and Feng Xiaojiang, governor of Guangzhou, as if they were the children of these two officials,” refers to the stories “The Daughter of Li Zhongwen” and “The Son of Feng Xiaojiang” from Tao Qian’s supernatural fiction collection, the “Sōushén Hòu Jì,” which also appears in records found in works such as the “Fǎyuàn Zhūlín.”
Volume 319 of the Taiping Guangji cites the Fayuan Zhulin:
During the Jin dynasty, Li Zhongwen, the Administrator of Wudu, lost his daughter in the prefecture; she was eighteen years old and was temporarily interred to the north of the county seat. Zhang Shizhi then succeeded him as Administrator.
The man of the world, whose name was Zizi Chang and who was twenty years old, was attending to his duties in the official residence when he dreamed of a young woman, perhaps seventeen or eighteen, whose beauty was ever-changing. She declared herself to be the daughter of the former prefect, who had unfortunately died young; now she was about to be reborn, and since her heart was drawn to him in love, she had come to seek him out.
Thus, on five or six evenings, she suddenly appeared in broad daylight, her garments exquisitely perfumed; and so they became husband and wife. When they lay together, her clothes were all stained, yet she remained as pure as a virgin. Later, Zhongwen sent a maid to inspect the maiden’s tomb, whereupon she passed away.
The maid entered the official’s residence and, seeing a single slipper of the young woman beneath the son’s bed, took it back to show to Zhongwen. Zhongwen was astonished and sent someone to inquire: “How did your son come by the deceased daughter’s slipper?” When asked, the boy recounted the whole story in detail.
Li and Zhang both declared it most strange; they opened the coffin to show it, and found that the woman’s body had already sprouted flesh, her features unchanged—only her left foot still wore a shoe.
The son of the chief dreamed of a woman and said: “I was once destined to live, but now I have been struck down. From that moment on, my flesh rotted away, and I died. How can I ever express the depth of my ten thousandfold resentment?” With tears streaming down his face, he took his leave.
The man of the world, whose name was Zizi Chang and who was twenty years old, was attending to his duties in the official residence when he dreamed of a young woman, perhaps seventeen or eighteen, whose beauty was ever-changing. She declared herself to be the daughter of the former prefect, who had unfortunately died young; now she was about to be reborn, and since her heart was drawn to him in love, she had come to seek him out.
Thus, on five or six evenings, she suddenly appeared in broad daylight, her garments exquisitely perfumed; and so they became husband and wife. When they lay together, her clothes were all stained, yet she remained as pure as a virgin. Later, Zhongwen sent a maid to inspect the maiden’s tomb, whereupon she passed away.
The maid entered the official’s residence and, seeing a single slipper of the young woman beneath the son’s bed, took it back to show to Zhongwen. Zhongwen was astonished and sent someone to inquire: “How did your son come by the deceased daughter’s slipper?” When asked, the boy recounted the whole story in detail.
Li and Zhang both declared it most strange; they opened the coffin to show it, and found that the woman’s body had already sprouted flesh, her features unchanged—only her left foot still wore a shoe.
The son of the chief dreamed of a woman and said: “I was once destined to live, but now I have been struck down. From that moment on, my flesh rotted away, and I died. How can I ever express the depth of my ten thousandfold resentment?” With tears streaming down his face, he took his leave.
In the novella “Li Zhongwen’s Daughter,” the episode in which the Li family suspects that their son has been buried with long hair closely resembles the scene in Act 37, “A Terrifying Transformation,” of “The Peony Pavilion,” where Chen Zuilang, suspecting that Liu Mengmei has stolen the coffin, rushes to inform Du Bao. By contrast, the vernacular tale “Du Liniang Longs for Beauty and Returns to Life” does not feature this particular episode.
“The Tale of Feng Xiaojiang’s Son” recounts how Ma Zi, the son of Feng Xiaojiang, the Governor of Guangzhou during the Eastern Jin dynasty, was in his twenties when, one night, he dreamed of a young woman, about eighteen or nineteen years old, who declared herself to be the daughter of Xu Xuanfang, the Governor of Beihai. She had been tragically slain by a ghost and begged Ma Zi to rescue her, promising in return to become his wife.
As agreed, the young man performed the ancestral rites and opened the coffin on the appointed day. Finding the woman’s body perfectly preserved, he took it home and tended to her with great care. A year later, her skin and strength had fully recovered, so he made her his wife, and they bore two sons and a daughter.
In this novella, the rites at the tomb and the opening of the coffin are entirely conducted by Ma Zi, much as in Act 35, “Revival,” of The Peony Pavilion, where Liu Mengmei assumes sole responsibility; this contrasts with the vernacular tale, in which Liu Mengmei seeks his parents’ consent before proceeding with the coffin’s opening.
As agreed, the young man performed the ancestral rites and opened the coffin on the appointed day. Finding the woman’s body perfectly preserved, he took it home and tended to her with great care. A year later, her skin and strength had fully recovered, so he made her his wife, and they bore two sons and a daughter.
In this novella, the rites at the tomb and the opening of the coffin are entirely conducted by Ma Zi, much as in Act 35, “Revival,” of The Peony Pavilion, where Liu Mengmei assumes sole responsibility; this contrasts with the vernacular tale, in which Liu Mengmei seeks his parents’ consent before proceeding with the coffin’s opening.
The two short stories, “Miss Li Zhongwen” and “Son of Feng Xiaojiang,” conclude one with a poignant tragedy and the other with a happy comedy. Upon closer examination, the root cause lies not in the protagonists themselves, but rather in the parents of both sides, thereby objectively reflecting the dominant authority that parental figures wielded over marital arrangements at the time.
Tang Xianzu, drawing on the spirit of these two stories, innovated and created the chuanqi “The Peony Pavilion,” giving birth to the character Du Liniang—a figure whose nature embodies both tragedy and comedy.
Tang Xianzu’s remark that “I have slightly revised and adapted it” is clearly an expression of modesty. The “resemblance” he speaks of precisely indicates that he did not mechanically copy the original legend.
Tang Xianzu, drawing on the spirit of these two stories, innovated and created the chuanqi “The Peony Pavilion,” giving birth to the character Du Liniang—a figure whose nature embodies both tragedy and comedy.
Tang Xianzu’s remark that “I have slightly revised and adapted it” is clearly an expression of modesty. The “resemblance” he speaks of precisely indicates that he did not mechanically copy the original legend.
“Just as the Han King of Suiyang had his interrogators torture Tan Sheng,”—this passage is drawn from the “Tan Sheng” chapter of Cao Pi’s Wei‑dynasty supernatural tale, the “Lieyi Zhuan.” According to the story, Tan Sheng was forty years old and still without a wife. One midnight, as he was reading the Book of Songs, a girl of fifteen or sixteen appeared and took him as her husband.
He claimed to be unlike others, and only after three years could he be illuminated by fire. He had a son, now two years old. Unable to bear it any longer, Tan secretly shone a light upon him; the girl’s lower torso withered away, and she was thereafter unable to grow flesh again. He then bestowed upon her a jeweled robe and took his leave.
This robe was later purchased by the family of the Prince of Suiyang. Upon discovering that it had once belonged to the late royal princess, they had Tan Sheng brought in for interrogation. Confessing the truth, Tan Sheng was accepted as the prince’s son-in-law, and his son was appointed to the post of Chamberlain.
He claimed to be unlike others, and only after three years could he be illuminated by fire. He had a son, now two years old. Unable to bear it any longer, Tan secretly shone a light upon him; the girl’s lower torso withered away, and she was thereafter unable to grow flesh again. He then bestowed upon her a jeweled robe and took his leave.
This robe was later purchased by the family of the Prince of Suiyang. Upon discovering that it had once belonged to the late royal princess, they had Tan Sheng brought in for interrogation. Confessing the truth, Tan Sheng was accepted as the prince’s son-in-law, and his son was appointed to the post of Chamberlain.
Compared with “Li Zhongwen’s Daughter” and “Feng Xiaojiang’s Son,” this tale, “Tan Sheng,” is an even more exquisite love story of a human and a ghost.
Undoubtedly, in the 53rd scene, “Hard Torture,” of The Peony Pavilion, the passage describing “Du Shou’s torture of Liu Sheng”—the “grave‑robber” Liu Mengmei, who has masqueraded as a son‑in‑law—is inspired by the story of “Han King of Suoyang’s torture of Tan Sheng.” By contrast, the vernacular tale Du Liniang Longs for Beauty and Returns to Life omits this particular detail.
Moreover, in the novel, the love poems from the Book of Songs that Tan Sheng employs to vent his emotions and stir the romantic sentiments of the princess of Suiyang are all drawn from the collection’s lyrical verses on love. In light of this, one is led to consider the motif in The Peony Pavilion whereby Du Liniang, upon reading the Book of Songs, finds her affections awakened.
It is evident that the supernatural tales of the Wei and Jin dynasties not only exerted an overarching spiritual influence on The Peony Pavilion, but also provided Tang Xianzu with specific narrative inspiration.
Undoubtedly, in the 53rd scene, “Hard Torture,” of The Peony Pavilion, the passage describing “Du Shou’s torture of Liu Sheng”—the “grave‑robber” Liu Mengmei, who has masqueraded as a son‑in‑law—is inspired by the story of “Han King of Suoyang’s torture of Tan Sheng.” By contrast, the vernacular tale Du Liniang Longs for Beauty and Returns to Life omits this particular detail.
Moreover, in the novel, the love poems from the Book of Songs that Tan Sheng employs to vent his emotions and stir the romantic sentiments of the princess of Suiyang are all drawn from the collection’s lyrical verses on love. In light of this, one is led to consider the motif in The Peony Pavilion whereby Du Liniang, upon reading the Book of Songs, finds her affections awakened.
It is evident that the supernatural tales of the Wei and Jin dynasties not only exerted an overarching spiritual influence on The Peony Pavilion, but also provided Tang Xianzu with specific narrative inspiration.
Tang Xianzu was thoroughly familiar with the novels of the Wei, Jin, Sui, and Tang dynasties; accordingly, when he wrote, he could draw upon them at will, seamlessly and without a trace. This practice has long since transcended the conventional notion of allusion, becoming an integral component of his distinctive artistic creative endeavor.
From the earlier literary works that served as sources or exerted a profound influence on Tang Xianzu in the creation of “The Peony Pavilion,” it is readily apparent that he engaged in a process of thorough exploration and reworking of his predecessors’ artistic achievements, elevating them to new heights and bringing forth their full brilliance—a testament to his consummate artistry.
By meticulously identifying the sources of Tang Xianzu’s dramatic works—this essay takes, as an example, the Wei-Jin‑era tales of the supernatural such as “Li Zhongwen’s Daughter”—we precisely underscore the greatness of Tang Xianzu. His genius lies precisely in his ability to “transform the mundane into the marvelous.” Of course, not all the works of his predecessors are “mundane”;
Yet the “miracle” has even surpassed its predecessor.
Yet the “miracle” has even surpassed its predecessor.
With regard to Shakespeare’s plays, with the exception of A Midsummer Night’s Dream and The Tempest, nearly all draw their material—without exception—from historical legends and mythological tales that had already been recounted by earlier authors, whether from his own country or from abroad.
Shakespeare’s genius lay in transforming the material of others into his own art; even stone, under his touch, was turned to gold. How remarkably similar are the creative methods of Shakespeare and Tang Xianzu!
Shakespeare’s genius lay in transforming the material of others into his own art; even stone, under his touch, was turned to gold. How remarkably similar are the creative methods of Shakespeare and Tang Xianzu!
Tang Xianzu’s “The Peony Pavilion” is a literary classic that, while grounded in real life, draws extensively upon and assimilates a variety of earlier legends and tales—such as the story of Li Zhongwen’s daughter, the Prefect of Wudu during the Jin dynasty.
“The Peony Pavilion,” in its 55 scenes, unfolds a kaleidoscope of extraordinary emotions—love in dreams, love between the living and the dead, and love in the human world.
Through the tragic realities of Du Liniang’s life and the comic elements of her fantasies, the entire play profoundly exposes the cruelty of feudal propriety and ritual, portrays the resolute determination of those who rebel against it to break free from its constraints, and celebrates their indomitable struggle in pursuit of an ideal marriage.
It can be said that “The Peony Pavilion,” this tragicomedy, conveys a precious message of the demand for individual liberation within the tradition of ancient Chinese literature.
Through the tragic realities of Du Liniang’s life and the comic elements of her fantasies, the entire play profoundly exposes the cruelty of feudal propriety and ritual, portrays the resolute determination of those who rebel against it to break free from its constraints, and celebrates their indomitable struggle in pursuit of an ideal marriage.
It can be said that “The Peony Pavilion,” this tragicomedy, conveys a precious message of the demand for individual liberation within the tradition of ancient Chinese literature.
Tang Xianzu was a world-renowned master of drama. In October 2015, during his visit to the United Kingdom, General Secretary Xi Jinping remarked that Tang Xianzu and William Shakespeare (1564–1616) were contemporaries,
The proposal calls for China and the United Kingdom to jointly commemorate these two literary giants. Today, as we honor Tang Xianzu, the master of drama, examine his creative philosophy, and reflect on his artistic contributions—paying tribute to the great literary classics he created—we are taking a significant step in implementing the important directives of General Secretary Xi Jinping.
From it, we can unearth the reform‑oriented ethos and the spirit of breaking with the old and ushering in the new—of discarding the outdated and forging ahead with innovation—drawn from China’s fine traditional culture, and draw upon this rich source of nourishment and strength to press forward. We must vigorously carry forward the zeitgeist of reform and opening up.
Pursuing a new phase of reform and deepening opening-up is of great significance for bolstering national cultural confidence, advancing the inheritance and development of Chinese culture, and fostering mutual learning and exchange between China and other countries.
Author Bio: Zou Zizhen, male, was born in Wudu, Gansu Province, in July 1949; he is a native of Fuzhou, Fujian. He is a member of the China Democratic League. He currently serves as a researcher at the Fujian Provincial Institute of Literature and History.
Vice Dean of the Institute of Literature and History, Professor at the School of Humanities of Minjiang University, a Distinguished Teacher in Fujian Province’s higher education institutions, and Vice President of the Fujian Provincial Society for the Study of Ancient Chinese Literature.
Member of the 9th Fujian Provincial Committee of the Chinese People’s Political Consultative Conference, member of the China Dramatists Association, and member of the Chinese Society for the Study of Dream of the Red Chamber. Published “A Comprehensive Study of Tang Xianzu” and “Commentary on The Peony Pavilion.”
Annotations on “The Story of Handan,” “Tang Xianzu and the Four Dreams of Linchuan,” “An In-depth Exploration of Tang Xianzu and Ming–Qing Literature,” “A Preliminary Study of Dream of the Red Chamber,” and “Collected Essays on the Talented Scholar of Linchuan”
He has authored nearly 30 scholarly works, including “Yuanzhao Boguan: Collected Essays on Classical Literature by Zou Zizhen,” and published more than 300 academic papers. He also served as the chief editor of the “Complete Works of Tang Xianzu’s Dramas.”
(Commentary edition, in five volumes), the “Tang Xianzu Studies Series” (four volumes in total), the “Great Dictionary of Fujian–Taiwan Culture: Literature Volume,” “A Historical Account of Min Opera,” and more than ten other works.
He has been a guest lecturer on Shenzhen TV, Southeast TV, Straits TV, as well as on the Jiangxi and Fujian Education Television stations and Fuzhou TV, imparting China’s fine traditional culture.
The proposal calls for China and the United Kingdom to jointly commemorate these two literary giants. Today, as we honor Tang Xianzu, the master of drama, examine his creative philosophy, and reflect on his artistic contributions—paying tribute to the great literary classics he created—we are taking a significant step in implementing the important directives of General Secretary Xi Jinping.
From it, we can unearth the reform‑oriented ethos and the spirit of breaking with the old and ushering in the new—of discarding the outdated and forging ahead with innovation—drawn from China’s fine traditional culture, and draw upon this rich source of nourishment and strength to press forward. We must vigorously carry forward the zeitgeist of reform and opening up.
Pursuing a new phase of reform and deepening opening-up is of great significance for bolstering national cultural confidence, advancing the inheritance and development of Chinese culture, and fostering mutual learning and exchange between China and other countries.
Author Bio: Zou Zizhen, male, was born in Wudu, Gansu Province, in July 1949; he is a native of Fuzhou, Fujian. He is a member of the China Democratic League. He currently serves as a researcher at the Fujian Provincial Institute of Literature and History.
Vice Dean of the Institute of Literature and History, Professor at the School of Humanities of Minjiang University, a Distinguished Teacher in Fujian Province’s higher education institutions, and Vice President of the Fujian Provincial Society for the Study of Ancient Chinese Literature.
Member of the 9th Fujian Provincial Committee of the Chinese People’s Political Consultative Conference, member of the China Dramatists Association, and member of the Chinese Society for the Study of Dream of the Red Chamber. Published “A Comprehensive Study of Tang Xianzu” and “Commentary on The Peony Pavilion.”
Annotations on “The Story of Handan,” “Tang Xianzu and the Four Dreams of Linchuan,” “An In-depth Exploration of Tang Xianzu and Ming–Qing Literature,” “A Preliminary Study of Dream of the Red Chamber,” and “Collected Essays on the Talented Scholar of Linchuan”
He has authored nearly 30 scholarly works, including “Yuanzhao Boguan: Collected Essays on Classical Literature by Zou Zizhen,” and published more than 300 academic papers. He also served as the chief editor of the “Complete Works of Tang Xianzu’s Dramas.”
(Commentary edition, in five volumes), the “Tang Xianzu Studies Series” (four volumes in total), the “Great Dictionary of Fujian–Taiwan Culture: Literature Volume,” “A Historical Account of Min Opera,” and more than ten other works.
He has been a guest lecturer on Shenzhen TV, Southeast TV, Straits TV, as well as on the Jiangxi and Fujian Education Television stations and Fuzhou TV, imparting China’s fine traditional culture.
Editor: Deng Chao | Source: Local Records Office of Wudu District, Longnan City
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