元雜劇の祭祀的演目について

Abstract

From the texts pubilished or copied in Ming dynasty, it seems that Yuan Tsa-chu does not have the ritual facts. But, in the thirty texts published in Yuan dynasty, there are so many rutual plays. Six plays have the ritual part at the end of the stage, and five plays evidently have the ritual property. We can confirm this hypothesis from the melodies which were used ato the end of these plays. But in the texts of Ming dynasty, we can find the different situation. In the thirty plays which were published in Yuan dynasty, the texts of Ming dynasty only contain the sixteen plays, and in the eleven ritual plays, only the three plays have published in Ming dynasty, and the two of these three plays are entirely altered in the texts of Ming dynasty. Why there are so few ritual plays in the texts of Ming dynasty? We can find out the answer of this problem in the property of the texts of Ming dynasty. The main sourse of those texts is the court plays which were staged in the presence of the emperor. The occasions of the performance were the court celebration. On the other hand, most of the ritual plays aims to conform the soul of the heroes who have died a tragic deth, so they were unsuitabile for the cerebration. It suggests that the original form of the Yuan tsa-chu must have had the more ritual property than considered.