The Plum in the Golden Vase or, Chin P'ing Mei

by Roy, David Tod

  3. This four-character expression occurs in the prose preface to an encomium by the Buddhist monk I-ch’ing (1032–83), Ch’üan Sung shih, 12:8227, l. 2.

  4. This formulaic four-character expression occurs ubiquitously in Chinese literature. See, e.g., a poem by Sung Chih-wen (cs 675, d. 712), Ch’üan T’ang shih, vol. 1, chüan 51, p. 626, l. 14; a poem by Jung Yü (c. 744–c. 800), ibid., vol. 4, chüan 270, p. 3012, l. 16; a poem by the Buddhist monk Kuan-hsiu (832–912), ibid., vol. 12, chüan 828, p. 9332, l. 2; a lyric by Wei Chuang (836–910), ibid., chüan 892, p. 10079, l. 3; a lyric by Liu Yung (cs 1034), Ch’üan Sung tz’u, 1:36, upper register, l. 5; a lyric by Chang Hsien (990–1078), ibid., 1:61, upper register, l. 6; a lyric by Tu An-shih (11th century), ibid., 1:184, upper register, l. 15; a poem by Feng Shan (cs 1057, d. 1094), Ch’üan Sung shih, 13:8663, l. 4; T’ien-pao i-shih chu-kung-tiao, p. 184, ll. 4–5; [Chi-p’ing chiao-chu] Hsi-hsiang chi, play no. 4, scene 4, p. 169, l. 2; San-kuo chih p’ing-hua, p. 59, ll. 9–10; Yüan-ch’ü hsüan, 2:441, l. 7; Yüan-ch’ü hsüan wai-pien, 1:332, l. 19; P’i-p’a chi, scene 15, p. 89, l. 8; Chin-ch’ai chi, scene 30, p. 56, ll. 4–5; Yü-huan chi, scene 10, p. 33, l. 9; San-kuo chih t’ung-su yen-i, vol. 1, chüan 12, p. 575, l. 1; a lyric by Shen Chou (1427–1509), Ch’üan Ming tz’u, 1:322, lower register, l. 12; the middle-period vernacular story Tung Yung yü-hsien chuan (The story of Tung Yung’s encounter with an immortal), in Ch’ing-p’ing shan-t’ang hua-pen, p. 242, l. 15; Pao-chien chi, scene 22, p. 42, l. 17; Hsi-yu chi, vol. 1, ch. 15, p. 167, l. 3; Ta-T’ang Ch’in-wang tz’u-hua, vol. 2, chüan 5, ch. 34, p. 14a, l. 3; and an abundance of other occurrences, too numerous to list.

  5. The maiden name of Yün Li-shou’s wife is given as Su when she first appears in chapter 78, but at this point in the text it is given as Fan. The simplified form of the character Su can easily be confused with the character Fan, so it is not clear which it should be, but I have chosen to stick with Su.

  6. See, Roy, The Plum in the Golden Vase, vol. 2. chap. 41, n. 5.

  7. This four-character expression occurs in I-chien chih, vol. 1, i-chih (second record), chüan 8, p. 250, l. 12; San Sui p’ing-yao chuan, chüan 2, ch. 8, p. 25a, l. 3; Hsi-yu chi, vol. 2, ch. 97, p. 1092, l. 3; and San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 2, ch. 67, p. 868, l. 12.

  8. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., a song suite by Ching Kan-ch’en (13th century), Ch’üan Yüan san-ch’ü, 1:141, l. 3; a song suite by T’ang Shih (14th–15th centuries), ibid., 2:1489, l. 7; a song suite by Ku Tzu-ching (14th century), ibid., 2:1642, l. 1; Yüan-ch’ü hsüan, 3:1099, l. 10; the early vernacular story Hua-teng chiao Lien-nü ch’eng-Fo chi (The girl Lien-nü attains Buddhahood in her bridal palanquin), in Ch’ing-p’ing shan-t’ang hua-pen, p. 200, l. 13; a song suite by T’ang Fu (14th century), Ch’üan Ming san-ch’ü, 1:230, l. 4; an anonymous song suite in Sheng-shih hsin-sheng, p. 96, l. 11; the middle-period vernacular story Hsin-ch’iao shih Han Wu mai ch’un-ch’ing (Han Wu-niang sells her charms at New Bridge Market), in Ku-chin hsiao-shuo, vol. 1, chüan 3, p. 64, l. 13; and three anonymous song suites in Yung-hsi yüeh-fu, ts’e 3, p. 27a, l. 6; ts’e 3, p. 38a, l. 9; and ts’e 14, p. 39a, l. 10.

  9. This proverbial expression occurs in the eighth- or ninth-century manuscript from Tun-huang entitled Wang Chao-chün pien-wen (The pien-wen on Wang Chao-chün), in Tun-huang pien-wen chi, 1:103, l. 14; and Yüan-ch’ü hsüan, 3:937, l. 17. It also recurs in the Chin P’ing Mei tz’u-hua, vol. 5, ch. 88, p. 11a, ll. 2–3.

  10. This sketchy account of Wu Sung’s adventures after being sent to military exile in Meng-chou is derived from chapters 29–31 of Shui-hu ch’üan-chuan.

  11. This couplet, which has become proverbial, is derived from the last two lines of a quatrain written in 1220 by the Taoist adept Hsia Yüan-ting (b. 1181), Ch’üan Sung shih, 56:35236, l. 12. It occurs ubiquitously, with an insignificant variation in the second line, in Chinese vernacular literature. See, e.g., Yüan-ch’ü hsüan, 2:658, l. 21–659, l. 1; Pai Niang-tzu yung-chen Lei-feng T’a, p. 435, l. 12; the early vernacular story K’an p’i-hsüeh tan-cheng Erh-lang Shen (Investigation of a leather boot convicts Erh-lang Shen), in Hsing-shih heng-yen, vol. 1, chüan 13, p. 256, l. 1; the early vernacular story Lü Tung-pin fei-chien chan Huang-lung (Lü Tung-pin beheads Huang-lung with his flying sword), in ibid., vol. 2, chüan 21, p. 456, l. 8; Sha-kou chi, scene 29, p. 107, l. 11; Pai-t’u chi, scene 6, p. 16, ll. 6–7; Huan-tai chi, chüan 2, scene 27, p. 18b, l. 1; Ch’ien-chin chi, scene 26, p. 83, l. 11; Shuang-chu chi, scene 36, p. 127, l. 2; Shui-hu ch’üan-chuan, vol. 2, ch. 36, p. 571, l. 6; the ch’uan-ch’i drama Hung-fu chi (The story of Red Duster), by Chang Feng-i (1527–1613), Liu-shih chung ch’ü ed., scene 20, p. 40, l. 7; the anonymous ch’uan-ch’i drama Pa-i chi (The story of the eight righteous heroes), Liu-shih chung ch’ü ed., scene 30, p. 63, ll. 7–8; Shuang-lieh chi, scene 30, p. 87, l. 11; San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 2, ch. 56, p. 724, ll. 11–12; the Chin P’ing Mei tz’u-hua, vol. 5, ch. 99, p. 5a, l. 10; and an abundance of other occurrences, too numerous to list. Other variants occur in Chao-shih ku-erh chi, chüan 2, scene 28, p. 7b, l. 8; the anonymous Yüan-Ming tsa-chü drama P’o feng-shih (The critique of the poem on the wind), in Ku-pen Yüan Ming tsa-chü, vol. 3, scene 3, p. 11a, ll. 6–7; P’o-yao chi, chüan 1, scene 8, p. 24b, ll. 7–8; T’an-shih wu-wei pao-chüan, 1:538, ll. 1–2; P’o-hsieh hsien-cheng yao-shih chüan (Precious volume on the key to refuting heresy and presenting evidence [for correct doctrine]), by Lo Ch’ing (1442–1527), originally published in 1509, in Pao-chüan ch’u-chi, 2:260, ll. 1–2; and the ch’uan-ch’i drama Mu-tan t’ing (The peony pavilion), by T’ang Hsien-tsu (1550–1616), ed. and annot. Hsü Shuo-fang and Yang Hsiao-mei (Peking: Chung-hua shu-chü, 1959), scene 53, p. 263, ll. 7–8. It occurs in the same form that it does here in Yüan-ch’ü hsüan, 2:629, ll. 19–20.

  12. Variants of this proverbial saying occur in Yüan-ch’ü hsüan, 3:887, l. 20; the Yüan-Ming hsi-wen drama Pai-yüeh t’ing chi (Moon prayer pavilion), in Ku-pen hsi-ch’ü ts’ung-k’an, ch’u-chi, item 9, chüan 1, scene 25, p. 41b, l. 6; Hsi-yu chi, vol. 2, ch. 68, p. 778, l. 5; Yü-ching t’ai, scene 4, p. 9, l. 12; Shuang-lieh chi, scene 8, p. 22, l. 12–p. 23, l. 1; San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 1, ch. 32, p. 412, l. 12; and [Hsin-k’o] Shih-shang hua-yen ch’ü-lo t’an-hsiao chiu-ling, chüan 1, p. 7a, lower register, l. 3.

  13. Variants of this conventional saying occur in Yüan-ch’ü hsüan, 1:62, l. 7; Ching-ch’ai chi, scene 23, p. 73, l. 10; and Shui-hu ch’üan-chuan, vol. 1, ch. 5, p. 84, l. 14.

  14. Variants of this proverbial couplet occur in Yüan-ch’ü hsüan, 2:574, ll. 11–12; and 4:1623, l. 15; the early vernacular story Shih Hung-chao lung-hu chün-ch’en hui (Shih Hung-chao: The meeting of dragon and tiger, ruler and minister), in Ku-chin hsiao-shuo, vol. 1, chüan 15, p. 227, l. 9; P’i-p’a chi, scene 16, p. 100, ll. 10–11; Shui-hu ch’üan-chuan, vol. 1, ch. 3, p. 44, l. 7; San Sui p’ing-yao chuan, chüan 2, ch. 7, p. 17a, ll. 4–5; the sixteenth-century ch’uan-ch’i drama Su Ying huang-hou ying-wu chi (The story of Empress Su Ying’s parrot), in Ku-pen hsi-ch’ü ts’ung-k’an, ch’u-chi, item 45, chüan 1, scene 16, p. 35a, l. 7; San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 1, ch. 48, p. 617, l. 2; and an abundance of other occurrences, too numerous to list.

  15. A synonymous variant of this five-character expression occurs in a speech attributed to the Buddhist monk Yen-chao (896–973), Wu-teng hui-yüan, vol. 2, chüan 11, p. 676, ll. 3–4; a speech attributed to Ts’ao Han (924–92), ibid., vol. 2, chüan 8, p. 517, l. 13; and a poem by the Buddhist monk Cheng-chüeh (1091–1157), Ch’üan Sung shih, 31:19888, l. 1. It occurs in the same form as in the novel in Shui-hu ch’üan-chuan, vol. 1, ch. 5, p. 83, l. 9; and Shuang-lieh chi, scene 3, p. 8, l. 3.

  16. These two four-character expressions occur in reverse order in Yüan-ch’ü hsüan, 3:994, l. 12; and Yüan-ch’ü
hsüan wai-pien, 1:73, l. 20.

  17. This four-character expression occurs in Wu Lun-ch’üan Pei, chüan 3, scene 22, p. 38b, l. 2; Shui-hu ch’üan-chuan, vol. 1, ch. 26, p. 415, l. 9; and Pao-chien chi, scene 27, p. 50, l. 11.

  18. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., Ching-ch’ai chi, scene 40, p. 118, l. 5; Wu Lun-ch’üan Pei, chüan 1, scene 5, p. 24a, l. 3; Hsiang-nang chi, scene 26, p. 75, l. 8; Huan-tai chi, chüan 1, scene 4, p. 7b, l. 6; Shuang-chu chi, scene 15, p. 44, l. 7; San Sui p’ing-yao chuan, chüan 1, ch. 5, p. 49b, l. 8; Ssu-hsi chi, scene 29, p. 73, l. 4; Yü-chüeh chi, scene 14, p. 44, l. 2; Kuan-yüan chi, scene 26, p. 55, l. 1; Shuang-lieh chi, scene 9, p. 25, l. 1; Pai-chia kung-an, chüan 10, ch. 98, p. 19a, l. 8; and an abundance of other occurrences, too numerous to list.

  19. See Roy, The Plum in the Golden Vase, vol. 4, chap. 68, n. 43.

  20. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., Yüan-ch’ü hsüan wai-pien, 2:488, l. 17; the early vernacular story Lo-yang san-kuai chi (The three monsters of Lo-yang), in Ch’ing-p’ing shan-t’ang hua-pen, p. 73, l. 10; the early vernacular story Yang Ssu-wen Yen-shan feng ku-jen (Yang Ssu-wen encounters an old acquaintance in Yen-shan), in Ku-chin hsiao-shuo, vol. 2, chüan 24, p. 372, l. 5; I-k’u kuei lai tao-jen ch’u-kuai, p. 194, l. 7; the early vernacular story Yin-chih chi-shan (A secret good deed accumulates merit), in Ch’ing-p’ing shan-t’ang hua-pen, p. 117, l. 3; Hsi-hu san-t’a chi, p. 27, l. 11; Yü-huan chi, scene 6, p. 15, l. 9; San-kuo chih t’ung-su yen-i, vol. 1, chüan 2, p. 71, l. 17; Shui-hu ch’üan-chuan, vol. 3, ch. 66, p. 1127, l. 7; the middle-period vernacular story Ts’o-jen shih (The wrongly identified corpse), in Ch’ing-p’ing shan-t’ang hua-pen, p. 226, l. 11; the middle-period vernacular story Shen Hsiao-kuan i-niao hai ch’i-ming (Master Shen’s bird destroys seven lives), in Ku-chin hsiao-shuo, vol. 2, chüan 26, p. 402, l. 8; Lieh-kuo chih-chuan, vol. 3, chüan 8, p. 42a, l. 12; San Sui p’ing-yao chuan, chüan 1, ch. 5, p. 52b, l. 6; the long sixteenth-century literary tale T’ien-yüan ch’i-yü (Celestial destinies remarkably fulfilled), in Kuo-se t’ien-hsiang, vol. 3, chüan 8, lower register, p. 15a, l. 12; Hsi-yu chi, vol. 2, ch. 52, p. 599, l. 6; Huang-Ming k’ai-yün ying-wu chuan, chüan 1, p. 11b, l. 10; San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 1, ch. 3, p. 37, l. 9; Yang-chia fu shih-tai chung-yung yen-i chih-chuan, vol. 1, chüan 1, p. 26a, l. 3; Ta-T’ang Ch’in-wang tz’u-hua, vol. 1, chüan 1, ch. 4, p. 42a, l. 4; Sui-T’ang liang-ch’ao shih-chuan, chüan 2, ch. 20, p. 53b, ll. 6–7; and an abundance of other occurrences, too numerous to list.

  21. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., Yüan-ch’ü hsüan, 2:751, l. 19; Yüan-ch’ü hsüan wai-pien, 1:56, l. 6; San-kuo chih t’ung-su yen-i, vol. 1, chüan 8, p. 375, ll. 9–10; Shui-hu ch’üan-chuan, vol. 1, ch. 26, p. 416, l. 11; Sui-T’ang liang-ch’ao shih-chuan, chüan 12, ch. 114, p. 10b, l. 3; and an abundance of other occurrences, too numerous to list.

  22. This formulaic four-character expression occurs ubiquitously in Chinese literature. See, e.g., a poem by Liu Yü-hsi (772–842), Ch’üan T’ang shih, vol. 6, chüan 356, p. 3998, l. 11; Ta-T’ang San-tsang ch’ü-ching shih-hua (Prosimetric account of how the monk Tripitaka of the great T’ang [made a pilgrimage] to procure sutras), printed in the thirteenth century but probably older (Shanghai: Chung-kuo ku-tien wen-hsüeh ch’u-pan she, 1955), episode 17, p. 37, l. 4; Shih Hung-chao lung-hu chün-ch’en hui, p. 228, l. 8; a lyric by the Buddhist monk Fan-ch’i (1296–1369), Ch’üan Chin Yüan tz’u, 2:1164, lower register, l. 16; San-kuo chih t’ung-su yen-i, vol. 1, chüan 4, p. 163, l. 17; Shui-hu ch’üan-chuan, vol. 1, ch. 12, p. 181, l. 3; Ts’o-jen shih, p. 226, l. 3; T’ang-shu chih-chuan t’ung-su yen-i, vol. 1, chüan 4, p. 17a, ll. 9–10; Hua-shen san-miao chuan, p. 50b, l. 6; Ch’üan-Han chih-chuan, vol. 3, chüan 5, p. 20b, l. 13; Hsi-yu chi, vol. 1, ch. 13, p. 148, l. 15; Pai-chia kung-an, chüan 5, ch. 48, p. 18a, l. 6; San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 1, ch. 38, p. 488, l. 7; Sui-T’ang liang-ch’ao shih-chuan, chüan 6, ch. 55, p. 29a, l. 7; and an abundance of other occurrences, too numerous to list.

  23. The above set piece of descriptive parallel prose is derived, with some textual variation, from one in Shui-hu ch’üan-chuan, vol. 1, ch. 21, p. 317, l. 15–p. 318, l. 1.

  24. This formulaic four-character expression occurs in a lyric by Chao Ch’ang-ch’ing (12th century), Ch’üan Sung tz’u, 3:1778, lower register, ll. 1–2; a song suite by Ma Chih-yüan (c. 1250–c. 1325), Ch’üan Yüan san-ch’ü, 1:269, l. 3; Yü-ch’iao hsien-hua, scene 2, p. 8a, l. 13; a song suite by Chu Ying-ch’en (16th century), Ch’üan Ming san-ch’ü, 2:1274, l. 3; and Chü-ting chi, chüan 2, scene 21, p. 46a, l. 6.

  25. This idiomatic five-character expression occurs in a poem by Chang Tzu-hui (13th century), quoted in Sung-jen i-shih hui-pien (Collected anecdotes about Sung dynasty personalities), comp. Ting Ch’uan-ching, 2 vols. (Peking: Shang-wu yin-shu kuan, 1958), vol. 2, chüan 19, p. 946, l. 11; Pai-t’u chi, scene 32, p. 82, l. 12; a collection of poetic riddles by Li K’ai-hsien (1502–68), author’s pref. dated 1555, in Li K’ai-hsien chi (The collected works of Li K’ai-hsien), by Li K’ai-hsien (1502–68), ed. Lu Kung. 3 vols. (Peking: Chung-hua shu-chü, 1959), 3:1013, l. 8; Ming-feng chi, scene 14, p. 63, l. 7; and Hai-fu shan-t’ang tz’u-kao, chüan 3, p. 164, l. 5.

  26. This five-character expression occurs in Shui-hu ch’üan-chuan, vol. 3, ch. 65, p. 1112, l. 15. A synonymous variant also occurs in San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 2, ch. 87, p. 1123, ll. 10–11.

  27. This four-character expression occurs in a lyric by Yin Chih-p’ing (1169–1251), Ch’üan Chin Yüan tz’u, 2:1183, lower register, l. 1; Yüan-ch’ü hsüan, 1:39, l. 3; Yüan-ch’ü hsüan wai-pien, 1:224, l. 19; Lieh-kuo chih-chuan vol. 3, chüan 8, p. 21a, l. 7; and Mu-lien chiu-mu ch’üan-shan hsi-wen, chüan 1, p. 28b, l. 2.

  28. Wu Sung’s flight to Shih-tzu P’o to seek refuge with Chang Ch’ing and his disguise as a Buddhist ascetic are described in chapter 31 of Shui-hu ch’üan-chuan.

  Chapter 88

  1. This formulaic four-character expression occurs in Yüan-ch’ü hsüan, 1:204, l. 16; and Shui-hu ch’üan-chuan, vol. 1, ch. 15, p. 221, ll. 8–9.

  2. Variants of this couplet, in which the second line is identical to that in the novel, occur in Chi Ya-fan chin-man ch’an-huo, p. 285, l. 13; and Shen Hsiao-kuan i-niao hai ch’i-ming, p. 397, l. 1.

  3. The proximate source of this entire passage, with some textual variation, is Shui-hu ch’üan-chuan, vol. 2, ch. 36, p. 563, ll. 3–5. The ultimate source of the first four lines and the last four lines, with some textual variation, is a work of moral exhortation attributed to the famous Taoist matriarch Wei Hua-ts’un (251–334), as quoted in Ming-hsin pao-chien, chüan 1, p. 9a, ll. 9–10 and ll. 8–9. These lines also occur under the title Hsi-hsin shuo (How to cleanse one’s heart) in Tsun-sheng pa-chien (Eight disquisitions on nurturing life), by Kao Lien (16th century), author’s pref. dated 1591 (Ch’eng-tu: Pa-Shu shu-she, 1988), chüan 1, p. 75, ll. 15–16 and ll. 14–15.

  4. This four-character expression occurs in K’an p’i-hsüeh tan-cheng Erh-lang Shen, p. 261, ll. 2–3; Shih-wu kuan hsi-yen ch’eng ch’iao-huo, p. 702, l. 5; Shui-hu ch’üan-chuan, vol. 1, ch. 3, p. 53, l. 4; Ch’üan-Han chih-chuan, vol. 2, chüan 6, p. 27b, l. 3; and Pai-chia kung-an, chüan 5, ch. 48, p. 21a, l. 1.

  5. This couplet is a slightly modified version of one that occurs in the Lun-yü (The analects of Confucius). See Lun-yü yin-te, Book 4, p. 7, l. 8; and The Analects, by Confucius, trans. D. C. Lau (New York: Penguin Books, 1979), p. 75, ll. 4–5. It occurs in the same form as in the novel in Ching-ch’ai chi, scene 3, p. 6, l. 5.

  6. This couplet occurs in Yüan-ch’ü hsüan, 3:888, l. 21; and recurs in the Chin P’ing Mei tz’u-hua, vol. 5, ch. 89, p. 4a, ll. 9–10. The second line occurs independently in Yüan-ch’ü hsüa
n wai-pien, 3:723, l. 1.

  7. This reduplicative expression, in a variety of orthographic variants, occurs ubiquitously in Chinese vernacular literature. See, e.g., a song suite by Wang T’ing-hsiu (13th century), Ch’üan Yüan san-ch’ü, 1:318, l. 4; Yüan-ch’ü hsüan, 4:1622, ll. 5–6; Yüan-ch’ü hsüan wai-pien, 1:46, l. 5; P’u-ming ju-lai wu-wei liao-i pao-chüan, 4:413, l. 3; Liu sheng mi Lien chi, chüan 2, p. 34b, l. 4; Hsi-yu chi, vol. 2, ch. 59, p. 682, l. 1; San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 2, ch. 68, p. 871, l. 5; Yang-chia fu shih-tai chung-yung yen-i chih-chuan, vol. 1, chüan 3, p. 43b, l. 6; and an abundance of other occurrences, too numerous to list.

  8. This four-character expression occurs in Yüan-ch’ü hsüan, 2:575, l. 10; Yüan-ch’ü hsüan wai-pien, 1:178, l. 11; Ch’ing feng-nien Wu-kuei nao Chung K’uei, scene 4, p. 9a, l. 6; and a host of other occurrences, too numerous to list.

  9. This four-character expression recurs in the Chin P’ing Mei tz’u-hua, vol. 5, ch. 100, p. 16a, l. 7.

  10. This formulaic reduplicative expression occurs ubiquitously in Chinese literature. See, e.g., a long poem attributed to Lü Tung-pin (9th century), Ch’üan T’ang shih, vol. 12, chüan 859, p. 9714, l. 9; the preface to a poem on internal alchemy by Liu Ch’ung-yung (9th century), Ch’üan T’ang shih pu-pien, 3:1609, l. 1; the prose commentary to a long poem by Emperor T’ai-tsung of the Sung dynasty (r. 976–97), Ch’üan Sung shih, 1:397, l. 3; an anonymous song suite from the Yüan dynasty, Ch’üan Yüan san-ch’ü, 2:1653, l. 8; the middle-period vernacular story Yüeh-ming Ho-shang tu Liu Ts’ui (The monk Yüeh-ming converts Liu Ts’ui), in Ku-chin hsiao-shuo, vol. 2, chüan 29, p. 438, l. 9; Ta-Sung chung-hsing yen-i, vol. 2, chüan 8, p. 22b, l. 10; Hsi-yu chi, vol. 2, ch. 64, p. 732, l. 13; Ta-T’ang Ch’in-wang tz’u-hua, vol. 1, chüan 4, ch. 32, p. 71a, ll. 7–8; and an abundance of other occurrences, too numerous to list.