Metamorpho-poetic Legending in 1950s Film: (1) Ashima

[[[[[[ (*Paranthetically, the White Haired Girl narartive, before its appeopraion in 1945 by Wan Li and co., composes a similar story-flow save for the very un-clasical anti-magical resolution: It also needs to be norted that two very famous pan-cuturaly scored mythopoetic operas tell stories weith ts same ingedienets: 天仙配梁山伯與祝英台 and 牛郎织女 are both metamorphic narartives that likewise resolve “impossibler” and social-order cosvulsive love by cosmogenetically sympathetic interbventive myths ending in renion in immortal form. Thus the Ashima legend and its very close neighbor, the Liu Sanjjie tale (pre-film) woukd have been pre-famiiar to urban, literate Chinese audiences, evoking subconsuious expectations that anticpate the way the edxtra-Sinitcally located tales will be received as operatcallty familiar, not all tjhat exotic. Grecian classicism thjus may or may not not by an influence, but so also is the Levi-Straussian engagement of the exogenic crisis (romantic love as exogenicm; scoalially sactioined pairing is is intra–communal beause it is neghotiated btween ad under the infkuence of a supernaturaly wicked teritoall hegemon),

Save for one major divide -a key one: re-divification the noon-Suihtu versiion aolways wexsplain or situates the end-tale raascent and cross-sosmic fixig of perpeuated love with very splecific and geo-linguisticaly immured locatiob hiden to outsiders but vceelbrated in idigene nararrtuve, them n latermi fikmednioera song, esp end-opera chorus sund by ahat is ti be understod as “communal” voice vbiusbug fir the new immortqit and tyoing to a peple’ surbjval which the ekevated fgoiddessthen prokise in ciunertr0osing. One might ventufe that this roo is pan-cukturam since the Taoyuan locus in the Chuzi suicide srorty follows thisn verysame formula: evryine knows that rt epEachb Garden is hddien sinehwre in hunan, but fieevr unfindabkle for outsideer of morta status,]]]]]]]]]]]]]]]]

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