Research on Masculinity in the Late Ming Dynasty: Taking the Male Images in Tang Xianzu's "Four Dreams of Linchuan" as an Example

Boheng Wang

doi:10.47297/wsprolaadWSP2634-786543.20250604

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Research on Masculinity in the Late Ming Dynasty: Taking the Male Images in Tang Xianzu's "Four Dreams of Linchuan" as an Example

Volume 6, Issue 4

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Research on Masculinity in the Late Ming Dynasty: Taking the Male Images in Tang Xianzu's "Four Dreams of Linchuan" as an Example
Research on Masculinity in the Late Ming Dynasty: Taking the Male Images in Tang Xianzu's "Four Dreams of Linchuan" as an Example
Law School, Shandong Normal University, Jinan, Shandong, 250358, China
Vol. 6, Issue 4, Pages: 220-224(2025)
Published：30 August 2025
DOI：10.47297/wsprolaadWSP2634-786543.20250604
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Wang Boheng.Research on Masculinity in the Late Ming Dynasty: Taking the Male Images in Tang Xianzu's "Four Dreams of Linchuan" as an Example[J].Research on Literary and Art Development,2025,06(04):220-224.
DOI：

Wang Boheng.Research on Masculinity in the Late Ming Dynasty: Taking the Male Images in Tang Xianzu's "Four Dreams of Linchuan" as an Example[J].Research on Literary and Art Development,2025,06(04):220-224. DOI： 10.47297/wsprolaadWSP2634-786543.20250604.

摘要

Abstract

The "Four Dreams of Linchuan" are "The Peony Pavilion"

"The Purple Hairpin"

"The Nanke Dream"

and "The Handan Dream"

all of which have their original works - " The Revival Of Du Liliang For Love"

"The Biography of Huo Xiaoyu"

"The Biography of the Governor of Nanke"

and "The Record in the Pillow". Tang Xianzu adapted them and recreated the male characters in the original works. This article aims to explore the male images in the "Four Dreams of Linchuan" from the perspective of masculinity and analyze the era context of the "The scholarly temperament"

"The gentlemanly temperament"

"The chivalrous temperament" and "The reclusive temperament" of men in the late Ming Dynasty. Through research

it is found that the construction of masculinity in the late Ming Dynasty was closely associated with the social environment during that period

and "The scholarly temperament" reflected the internal and external troubles of society

the revival of the imperial examination system

as well as the economic and ideological changes; "The gentlemanly temperament" reflected the moral norms of Cheng-Zhu Neo-Confucianism; "The chivalrous temperament" was in line with the prosperous commodity economy and the spirit of the school of mind; "The temperament of an anchoret" originated from the political darkness and the ideological atmosphere of the integration of the three religions.

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references

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