In this dissertation, I provide close readings of three early Qing plays by the eminent scholar-poet Wu Weiye (1609–1672). These three plays stand out among the numerous plays written after the fall of the Ming for their thematic unity: they all are set in periods of dynastic transition and focus on the predicaments of select historical personalities who lived through such periods of national crisis. I show how this theme is realized in each of his three plays and discuss the significance of the differences between them. While I draw connections between Wu Weiye's plays and his changing situation between 1644 and 1653, I caution against a too narrowly conceived topical interpretation of his plays. Instead, I argue that his plays, very much like his shi poetry and ci lyric of the same period, are acts of self-fashioning and have to be read as such. I further argue that Wu Weiye' s plays, despite their large debt to the dramatic tradition of the late Ming, transform this tradition into something genuinely new and prepare the ground for the acknowledged master pieces of the late seventeenth century, Hong Sheng's (1645–1704) Palace of Everlasting Life (Changsheng dian), published in 1688, and Kong Shangren's (1648–1718) Peach Blossom Fan, published in 1699.; The dissertation consists of four chapters and a substantial appendix. Chapter 1 provides a brief biographical account of Wu Weiye's life. Chapter 2 discusses Wu Weiye's earliest play, Linchun ge, a variety play (zaju) in four acts, composed between 1645 and 1647. Chapter 3 discusses the Wu Weiye's second play, Tongtian tai, a variety play in two acts written around 1649. Chapter 4 discusses Wu Weiye's last play, Moling chun, a romantic comedy (chuanqi ) in 41 acts which was published in 1653. The appendix contains, among other things, translations of all of Wu Weiye's writing on drama, a translation of Wu Weiye's major autobiographical account as well as an annotated list of all available editions of Wu Weiye's plays.
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机译：在这篇论文中，我仔细阅读了著名学者诗人吴维业（1609–1672）的三部清初戏剧。在明朝灭亡之后，这三部戏剧以其主题统一性而脱颖而出，在众多戏剧中脱颖而出：它们都处于朝代过渡时期，并着眼于经历过民族危机的某些历史人物的困境。我将展示他的三部剧中每个主题都是如何实现的，并讨论它们之间差异的重要性。当我在吴维业的戏剧与他在1644年至1653年间不断变化的状况之间建立联系时，我提醒大家不要过于狭topic地对他的戏剧进行主题解释。相反，我认为他的戏剧很像他同一时期的 诗歌和 ci 抒情诗，是一种自我塑造的行为，必须如此解读。我进一步指出，吴伟业的戏剧尽管对明末的戏剧传统负有重大责任，但仍将其转变成一种真正的新事物，并为十七世纪晚期公认的杰作-洪圣的著作（1645- 1704年），出版于1688年的永生宫殿（长生店）和孔尚仁（1648–1718）出版的 Peach Blossom Fan 1699。论文共分四章和附录。第1章简要介绍了吴维业的生平。第2章讨论吴维业的最早戏曲《临春歌》，这是一部由1645年至1647年之间创作的四幕杂耍剧（ zaju ）。第3章讨论了吴维业的第二戏， Tongtian tai ，是一部在1649年左右写的两幕综艺剧。第4章讨论了吴维业的最后一部戏曲， Moling chun ，这是一部浪漫喜剧（ chuanqi ）在1653年出版的41部作品中。附录中除其他内容外，包括吴维业戏剧作品的全部译本，吴维业主要自传体的译本以及所有可用版本的注释版本。
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