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

by Roy, David Tod

  11. This four-character expression occurs in a quatrain by Liu Yü-hsi (772–842), Ch’üan T’ang shih, vol. 6, chüan 365, p. 4129, l. 13; a lyric by the Buddhist monk Shan-chu (12th century), Ch’üan Chin Yüan tz’u, 1:160, lower register, l. 6; a lyric by Ch’ü Yu (1341–1427), Ch’üan Ming tz’u pu-pien (A supplement to Complete tz’u lyrics of the Ming), comp. Chou Ming-ch’u and Yeh Yeh, 2 vols. (Hang-chou: Che-chiang ta-hsüeh ch’u-pan she, 2007), 1:38, lower register, l. 12; and an anonymous song in Feng-yüeh chin-nang [chien-chiao] (Brocade pouch of romantic verse [annotated and collated]), annot. and collated by Sun Ch’ung-t’ao and Huang Shih-chung, originally published in 1553 (Peking: Chung-hua shu-chü, 2000), chüan 1, p. 145, l. 9.

  12. An orthographic variant of this four-character expression occurs in Pei Sung chih-chuan, vol. 3, chüan 9, p. 20a, l. 8; and Yang-chia fu shih-tai chung-yung yen-i chih-chuan, vol. 1, chüan 1, p. 15a, l. 9.

  13. This formulaic four-character expression occurs in Hsiao-tzu chuan (Biographies of filial sons), in Tun-huang pien-wen chi, 2:902, l. 4; Ch’i-kuo ch’un-ch’iu p’ing-hua (The p’ing-hua on the events of the seven states), originally published in 1321–23 (Shanghai: Ku-tien wen-hsüeh ch’u-pan she, 1955), p. 64, l. 5; Ch’ien-Han shu p’ing-hua (The p’ing-hua on the history of the Former Han dynasty), originally published in 1321–23 (Shanghai: Ku-tien wen-hsüeh ch’u-pan she, 1955), p. 41, l. 4; San-kuo chih p’ing-hua, p. 98, ll. 2–3; Ch’en Hsün-chien Mei-ling shih-ch’i chi, p. 132, l. 8; and Ta-T’ang Ch’in-wang tz’u-hua, vol. 2, chüan 8, ch. 63, p. 64a, l. 8.

  14. This proverbial couplet occurs verbatim in Hsi-yu chi, vol. 2, ch. 97, p. 1095, l. 9. The first line also occurs independently in Hua-teng chiao Lien-nü ch’eng-Fo chi, p. 205, l. 1; Cheng-hsin ch’u-i wu hsiu cheng tzu-tsai pao-chüan, 3:54, l. 3; and P’u-ching ju-lai yao-shih pao-chüan, 3:165, l. 7. A variant form of the couplet, in which the second line is identical, also occurs in the Chin P’ing Mei tz’u-hua, vol. 5, ch. 89, p. 8a, l. 10; and p. 11b, l. 8.

  15. This four-character expression occurs in Yüan-ch’ü hsüan, 1:694, l. 6; and recurs in the Chin P’ing Mei tz’u-hua, vol. 5, ch. 89, p. 6a, ll. 4–5; ch. 90, p. 1a, l. 8; and ch. 93, p. 12a, l. 10.

  16. Mount Wu-t’ai was, and still is, a major site for Buddhist pilgrimage, located in Shansi province. For a description of such a pilgrimage made in 1088, see “Chang Shang-ying on Wu-t’ai Shan,” by Robert M. Gimello, in Naquin and Yü, Pilgrims and Sacred Sites in China, pp. 89–149.

  17. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., Yüan-ch’ü hsüan, 3:1059, l. 4; Hua-teng chiao Lien-nü ch’eng-Fo chi, p. 197, l. 5; Lü Tung-pin fei-chien chan Huang-lung, p. 459, l. 3; Hsi-yu chi, vol. 1, ch. 26, p. 300, l. 8; San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 1, ch. 11, p. 136, l. 11; and an abundance of other occurrences, too numerous to list.

  18. This four-character expression occurs in a gatha by the Buddhist monk Tao-ning (1053–1113), Ch’üan Sung shih, 19:12899, l. 9; a lyric by the Buddhist monk Ming-pen (1263–1323), Ch’üan Chin Yüan tz’u, 2:1161, lower register, l. 7; Huang-chi chin-tan chiu-lien cheng-hsin kuei-chen huan-hsiang pao-chüan, 8:40, l. 4; and an anonymous song suite in Yung-hsi yüeh-fu, ts’e 6, p. 64b, l. 3.

  19. This four-character expression occurs in a lyric by Chang Hsü (15th century), Ch’üan Ming tz’u, 2:386, lower register, l. 9.

  20. See Roy, The Plum in the Golden Vase, vol. 4, chap. 74, n. 49.

  21. This four-character expression occurs in San-Yüan chi, scene 10, p. 27, l. 6; San Sui p’ing-yao chuan, chüan 3, ch. 11, p. 4b, ll. 8–9; Hsi-yu chi, vol. 1, ch. 12, p. 136, l. 12; and a set of songs by Hsüeh Lun-tao (c. 1531–c. 1600), Ch’üan Ming san-ch’ü, 3:2759, l. 5.

  22. This four-character expression occurs in Chien-teng yü-hua, chüan 3, p. 238, l. 5.

  23. This four-character expression occurs in Yüan-ch’ü hsüan, 4:1586, ll. 14–15; and an anonymous song suite in Feng-yüeh chin-nang [chien-chiao], p. 69, l. 11.

  24. On this proverbial couplet, see Roy, The Plum in the Golden Vase, vol. 2, chap. 34, n. 23. A nearly identical version, with only one variant, occurs in Ta-T’ang Ch’in-wang tz’u-hua, vol. 1, chüan 1, ch. 3, p. 33a, l. 5.

  25. This five-character expression occurs independently in a set of songs by Kuan Yün-shih (1286–1324), Ch’üan Yüan san-ch’ü, 1:371, l. 3; a set of songs by Chang Yang-hao (1270–1329), ibid., 1:434, l. 13; the early Ming hsi-wen drama Pai-she chi (The story of the white snake), by Cheng Kuo-hsüan (14th century), in Ku-pen hsi-ch’ü ts’ung-k’an, ch’u-chi, item 43, chüan 1, scene 3, p. 6a, l. 6; Yü-huan chi, scene 10, p. 35, l. 12; P’o-yao chi, chüan 1, scene 2, p. 3b, l. 7; Pao-chien chi, scene 10, p. 22, l. 14; Yen-chih chi, chüan 2, scene 21, p. 2a, ll. 10–11; and Mu-lien chiu-mu ch’üan-shan hsi-wen, chüan 1, p. 58a, l. 10.

  26. This five-character expression occurs independently in Yüan-ch’ü hsüan wai-pien, 2:368, l. 15; a set of songs by T’ang Shih (14th–15th centuries), Ch’üan Yüan san-ch’ü, 2:1554, l. 10; the anonymous Yüan-Ming tsa-chü drama Lü-weng san-hua Han-tan tien (Lü Tung-pin’s three efforts to convert [student Lu] at the Han-tan inn), in Ku-pen Yüan Ming tsa-chü, vol. 4, scene 1, p. 1b, l. 13; Chin-yin chi, chüan 2, scene 15, p. 13a, l. 6; an anonymous set of songs in Yung-hsi yüeh-fu, ts’e 15, p. 21b, l. 9; and a set of songs by Hsüeh Lun-tao (c. 1531–c. 1600), Ch’üan Ming san-ch’ü, 3:2697, l. 6. Variants of the couplet formed by the last five characters of the preceding line and those of this line occur ubiquitously in Chinese vernacular literature. See, e.g., Yüan-ch’ü hsüan, 1:200, l. 1; Yüan-ch’ü hsüan wai-pien, 1:18, l. 3; Chao-shih ku-erh chi, chüan 1, scene 1, p. 2a, l. 6; Ching-ch’ai chi, scene 34, p. 103, ll. 7–8; Sha-kou chi, scene 30, p. 108, l. 11; Ming-hsin pao-chien, chüan 1, p. 3b, ll. 5–6; Pai-t’u chi, scene 7, p. 23, l. 5; Nan Hsi-hsiang chi (Li Jih-hua), scene 22, p. 64, l. 9; the middle-period vernacular story Ho-t’ung wen-tzu chi (The story of the contract), in Ch’ing-p’ing shan-t’ang hua-pen, p. 34, l. 4; the anonymous Ming ch’uan-ch’i drama Hsün-ch’in chi (The quest for the father), Liu-shih chung ch’ü ed., scene 16, p. 55, l. 1; Pa-i chi, scene 2, p. 1, l. 11–p. 2, l. 1; I-hsia chi, scene 31, p. 84, l. 5; and an abundance of other occurrences, too numerous to list. The couplet occurs in the same form as in the novel in Yü-huan chi, scene 10, p. 35, l. 12.

  Chapter 89

  1. This formulaic four-character expression occurs ubiquitously in Chinese literature. See, e.g., a poem by Han Yü (768–824), Ch’üan T’ang shih, vol. 5, chüan 343, p. 3846, l. 5; a poem by Lo Yeh (9th century), ibid., vol. 10, chüan 654, p. 7516, l. 2; a poem by Lo Yin (833–909), ibid., chüan 655, p. 7536, l. 6; a poem by T’ang Yen-ch’ien (9th century), ibid., chüan 671, p. 7675, l. 12; a poem by the Buddhist monk Kuan-hsiu (832–912), ibid., vol. 12, chüan 835, p. 9413, l. 1; a poem by the Buddhist monk Ch’i-chi (864–c. 937), ibid., chüan 844, p. 9543, l. 9; a poem by Han Wei (1017–98), Ch’üan Sung shih, 8:5256, l. 14; a poem by Huang T’ing-chien (1045–1105), ibid., 17:11741, l. 4; a quatrain by Ch’ao Yüeh-chih (1059–1129), ibid., 21:13821, l. 6; an encomium by the Buddhist monk Cheng-chüeh (1091–1157), ibid., 31:19844, l. 17; a lyric by Ch’en Chu (1214–97), Ch’üan Sung tz’u, 4:3047, upper register, ll. 1–2; [Hsin-pien] Wu-tai shih p’ing-hua, p. 7, l. 10; Yüeh Fei p’o-lu tung-ch’uang chi, chüan 1, scene 4, p. 5b, l. 1; Huan-tai chi, chüan 2, scene 34, p. 31b, ll. 5–6; Yü-huan chi, scene 4, p. 8, ll. 6–7; a lyric by Ku Hsün (1418–1505), Ch’üan Ming tz’u, 1:277, lower register, l. 11; a lyric by Wang Chiu-ssu (1468–1551), ibid., 2:487, upper register, l. 16; a lyric by Wu Ch’eng-en (c. 1500–1582), ibid, 2:979, upper register, l. 7; Ssu-hsi chi, scene 30, p. 74, ll. 9–10; Ts’an-T’ang Wu-tai shih yen-i chuan, ch. 3, p. 4, l. 5; Pai-chia kung-an, chüan 1, p. 3b, l. 1; Ta-T’ang Ch’in-wang tz’u-hua, vol. 2, chüan 8, ch. 62, p. 54a, ll. 2–3; and a host of other occurrences, too numerous to list.

  2. This line, with one insignificant variant, occurs independen
tly in I-hsia chi, scene 22, p. 56, l. 9.

  3. Variants of this line occur independently in Yüan-ch’ü hsüan, 3:1148, l. 10; and Chieh-chih-erh chi, p. 248, l. 9. It occurs in the same form as in the novel in the early vernacular story Fu Lu Shou san-hsing tu-shih (The three stellar deities of Fortune, Emolument, and Longevity visit the mundane world), in Ching-shih t’ung-yen, chüan 39, p. 589, l. 15; Nan Sung chih-chuan, vol. 1, chüan 4, p. 10b, l. 3; and Yü-chüeh chi, scene 19, p. 60, l. 4.

  4. The proximate source of this entire poem, with insignificant textual variation, is Shui-hu ch’üan-chuan, vol. 1, ch. 3, p. 47, ll. 9–10. The same poem, with minor textual variations, also occurs in the early vernacular story Sung Ssu-kung ta-nao Chin-hun Chang (Sung the Fourth raises hell with Tightwad Chang), in Ku-chin hsiao-shuo, vol. 2, chüan 36, p. 532, ll. 8–9; and in the Chin P’ing Mei tz’u-hua, vol. 5, ch. 98, p. 5a, ll. 4–7.

  5. On this custom, see Roy, The Plum in the Golden Vase, vol. 2, chap. 31, n. 26.

  6. This formulaic reduplicative expression occurs ubiquitously in Chinese vernacular literature. See, e.g., an anonymous inscription dating from 744, Ch’üan T’ang shih pu-pien, 3:1645, l. 12; Tun-huang pien-wen chi, 2:642, l. 6; a lyric by Su Shih (1037–1101), Ch’üan Sung tz’u, 1:321, lower register, l. 14; a quatrain by the Buddhist monk Cheng-chüeh (1091–1157), Ch’üan Sung shih, 31:19818, l. 4; a quatrain by Ma Yü (1123–83), Ch’üan Chin shih (Complete poetry of the Chin dynasty [1115–1234]), comp. Hsüeh Jui-chao and Kuo Ming-chih, 4 vols. (Tientsin: Nan-k’ai ta-hsüeh ch’u-pan she, 1995), 1:286, l. 14; a lyric by Hsin Ch’i-chi (1140–1207), Ch’üan Sung tz’u, 3:1884, lower register, l. 9; Kuan-shih-yin p’u-sa pen-hsing ching, p. 74b, l. 2; Yüan-ch’ü hsüan; 4:1697, l. 9; [Hsin-pien] Wu-tai shih p’ing-hua, p. 5, l. 10; P’i-p’a chi, scene 15, p. 87, l. 13; Pai-she chi, chüan 1, scene 11, p. 22b, ll. 5–6; Chin-ch’ai chi, scene 39, p. 65, l. 2; Yü-huan chi, scene 6, p. 15, l. 4; a set of songs by Li K’ai-hsien (1502–68) written in 1531, Li K’ai-hsien chi, 3:917, l. 2; [Hsiao-shih] Chen-k’ung sao-hsin pao-chüan, 18:506, l. 3; Hsi-yu chi, vol. 1, ch. 4, p. 44, ll. 9–10; a lyric by Wang Tsu-ti (1531–92), Ch’üan Ming tz’u, 3:1101, lower register, l. 6; and an abundance of other occurrences, too numerous to list.

  7. Variants of this proverbial couplet occur in Hua-teng chiao Lien-nü ch’eng-Fo chi, p. 204, l. 13; the Yüan-Ming ch’uan-ch’i drama Huang hsiao-tzu (The filial son Huang [Chüeh-ching]), in Ku-pen hsi-ch’ü ts’ung-k’an, ch’u-chi, item 23, chüan 1, scene 10, p. 30a, l. 2; Chiang Shih yüeh-li chi, chüan 2, scene 21, p. 13a, l. 5; and Shui-hu ch’üan-chuan, vol. 2, ch. 34, p. 537, l. 8. It occurs in the same form as in the novel in the middle-period vernacular story K’uai-tsui Li Ts’ui-lien chi (The story of the sharp-tongued Li Ts’ui-lien), in Ch’ing-p’ing shan-t’ang hua-pen, p. 61, l. 7.

  8. A version of this quatrain, with minor textual variations, occurs in Pai-chia kung-an, chüan 10, ch. 93, p. 10b, ll. 8–9. The last line also recurs independently in the Chin P’ing Mei tz’u-hua, vol. 5, ch. 97, p. 6a, ll. 2–3.

  9. This four-character expression occurs in Hsi-yu chi, vol. 2, ch. 80, p. 910, l. 3.

  10. This four-character expression occurs in a quatrain by Wang An-shih (1021–86), Ch’üan Sung shih, 10:6724, l. 12; and a lyric by Wang T’ing-no (fl. 1593–1611), Ch’üan Ming tz’u, 3:1214, upper register, l. 2.

  11. The above set piece of parallel prose describing spring in the countryside is taken almost verbatim from Lo-yang san-kuai chi, p. 68, ll. 3–9.

  12. This four-character expression occurs in a lyric by Ch’en Te-wu (13th century), Ch’üan Sung tz’u, 5:3460, upper register, l. 4; a song suite by Wang T’ien (15th century), Ch’üan Ming san-ch’ü, 1:1018, l. 3; the middle-period vernacular story Tu Li-niang mu-se huan-hun (Tu Li-niang yearns for love and returns to life), in Hu Shih-ying, Hua-pen hsiao-shuo kai-lun, 2:533, l. 21; and a set of songs by Yang Shen (1488–1559), Ch’üan Ming san-ch’ü, 2:1409, l. 5.

  13. This poem, with insignificant textual variations, occurs in the early vernacular story Hsiao fu-jen chin-ch’ien tseng nien-shao (The merchant’s wife offers money to a young clerk), in Ching-shih t’ung-yen, chüan 16, p. 229, l. 17–p. 230, l. 1.

  14. This four-character expression occurs in Hsi-yu chi, vol. 1, ch. 29, p. 335, l. 4.

  15. This four-character expression occurs in Chin-yin chi, chüan 3, scene 29, p. 27b, l. 11; Wang Chao-chün ch’u-sai ho-jung chi, chüan 2, scene 27, p. 18b, l. 3; and a song suite by Chu Ying-ch’en (16th century), Ch’üan Ming san-ch’ü, 2:1275, ll. 12–13. It also recurs in the Chin P’ing Mei tz’u-hua, vol. 5, ch. 99, p. 10b, ll. 10–11; and p. 11b, l. 3.

  16. This five-character expression occurs in a song suite by Ching Yüan-ch’i (14th century), Ch’üan Yüan san-ch’ü, 2:1151, l. 12; Yüan-ch’ü hsüan, 1:228, l. 8; and Yüan-ch’ü hsüan wai-pien, 1:330, l. 13.

  17. A nearly synonymous variant of this four-character expression occurs in Yüan-ch’ü hsüan, 4:1330, l. 9; 1348, l. 6; 1663, ll. 11–12; and 1679, l. 6.

  18. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., a lyric by K’ang Yü-chih (12th century), Ch’üan Sung tz’u, 2:1308, lower register, l. 1; two anonymous song suites in the anthology Sheng-shih hsin-sheng (New songs of a surpassing age), pref. dated 1517, fac. repr. (Peking: Wen-hsüeh ku-chi k’an-hsing she, 1955), p. 286, l. 2; and p. 414, l. 12; an anonymous song in Tz’u-lin chai-yen, vol. 1, p. 28, l. 9; an anonymous set of songs in Yung-hsi yüeh-fu, ts’e 15b, p. 33a, l. 10; Yen-chih chi, chüan 2, scene 37, p. 26b, l. 9; and an abundance of other occurrences, too numerous to list.

  19. This formulaic four-character expression occurs ubiquitously in Chinese literature. See, e.g., a quatrain by Wang Ch’ang-ling (cs 727), Ch’üan T’ang shih, vol. 2, chüan 143, p. 1447, l. 3; a quatrain by Huang T’ao (cs 895), ibid., vol. 10, chüan 706, p. 8131, l. 15; an anonymous set of songs in Tun-huang ch’ü chiao-lu (Collated record of songs from Tun-huang), comp. Jen Erh-pei (Shanghai: Shang-hai wen-i lien-ho ch’u-pan she, 1955), p. 168, l. 5; a lyric by Yen Chi-tao (c. 1031–c. 1106), Ch’üan Sung tz’u, 1:227, lower register, l. 8; a lyric by Ch’in Kuan (1049–1100), ibid., 1:468, lower register, l. 15; a poem by Lü Pen-chung (1084–1145), Ch’üan Sung shih, 28:18208, l. 17; a lyric by Ts’ai Shen (1088–1156), Ch’üan Sung tz’u, 2:1009, upper register, l. 5; a poem by Ch’en Yü-i (1090–1138), Ch’üan Sung shih, 31:19504, l. 12; a poem by Chang Nieh (1096–1148), ibid., 32:20512, l. 13; Tung Chieh-yüan Hsi-hsiang chi, chüan 5, p. 111, l. 5; [Chi-p’ing chiao-chu] Hsi-hsiang chi, play no. 2, scene 5, p. 91, l. 9; a song by Lu Chih (cs 1268), Ch’üan Yüan san-ch’ü, 1:117, l. 6; a set of songs by Kuan Yün-shih (1286–1324), ibid., 1:366, l. 3; a lyric by Liu Chi (1311–75), Ch’üan Ming tz’u, 1:78, lower register, l. 3; a lyric by Ch’ü Yu (1341–1427), ibid., 1:180, lower register, ll. 12–13; Hsiang-nang chi, scene 33, p. 99, l. 1; a song suite by Chu Yün-ming (1460–1526), Ch’üan Ming san-ch’ü, 1:784, l. 9; a set of songs by T’ang Yin (1470–1524), ibid., 1:1068, l. 4; a song suite by Shih Li-mo (cs 1521), ibid., 2:1778, l. 3; Ssu-hsi chi, scene 21, p. 55, l. 8; and an abundance of other occurrences, too numerous to list.

  20. For this festival, see Roy, The Plum in the Golden Vase, vol. 1, chap. 11, n. 1.

  21. For this allusion, see ibid., vol. 3, chap. 54, n. 2.

  22. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., Hsiao Sun-t’u, scene 3, p. 266, l. 6; an anonymous set of songs in Yüeh-fu ch’ün-chu, chüan 2, p. 116, l. 1; Yüan-ch’ü hsüan, 4:1651, l. 3; a set of songs by Yao Sui (1238–1313), Ch’üan Yüan san-ch’ü, 1:213, l. 13; a lyric written in 1361 by Hsing Shu-heng (14th century), Ch’üan Chin Yüan tz’u, 2:1144, lower register, l. 5; Chiang Shih yüeh-li chi, chüan 1, scene 2, p. 2b, l. 10–p. 3a, l. 1; Yü-chüeh chi, scene 7, p. 18, l. 2; Wang Chao-chün ch’u-sai ho-jung chi, chüan 1, scene 3, p. 5a, ll. 3–4; Yen-chih chi, chüan 2, scene 34, p. 20a, l. 6; Shuang-lieh chi, scen
e 42, p. 114, l. 11; a song by Wang K’o-tu (c. 1526–c. 1594), Ch’üan Ming san-ch’ü, 2:2460, l. 10; a song by Hsüeh Lun-tao (c. 1531–c. 1600), ibid., 3:2777, l. 4; and a host of other occurrences, too numerous to list.

  23. This formulaic four-character expression occurs ubiquitously in Chinese literature. See, e.g., a quatrain by Chou Tun-i (1017–73), Ch’üan Sung shih, 8:5066, l. 9; a set of quatrains by Emperor Hui-tsung of the Sung dynasty (r. 1100–1125), ibid., 26:17059, l. 16; a poem by Chu Shu-chen (fl. 1078–1138), ibid., 28:17980, l. 13; a lyric by Li Kang (1083–1140), Ch’üan Sung tz’u, 2:907, upper register, l. 8; Kuan-shih-yin p’u-sa pen-hsing ching, p. 27b, l. 9; a song suite by Sung Fang-hu (14th century), Ch’üan Yüan san-ch’ü, 2:1306, l. 9; a song suite by Lan Ch’u-fang (14th century), ibid., 2:1628, ll. 10–11; Huang T’ing-tao yeh-tsou Liu-hsing ma, scene 2, p. 93, l. 3; P’o-yao chi, chüan 2, scene 27, p. 34a, l. 7; Shui-hu ch’üan-chuan, vol. 3, ch. 69, p. 1169, l. 8; Liu sheng mi Lien chi, chüan 2, p. 7a, l. 7; Yen-chih chi, chüan 2, scene 30, p. 16b, l. 4; Mu-lien chiu-mu ch’üan-shan hsi-wen, chüan 3, p. 1b, l. 3; Ch’üan-Han chih-chuan, vol. 3, chüan 4, p. 29b, l. 2; Yang-chia fu shih-tai chung-yung yen-i chih-chuan, vol. 1, chüan 4, p. 10b, l. 3; and an abundance of other occurrences, too numerous to list.

  24. The four characters that constitute this expression are used in Buddhist temples to refer to the effigies of the Four Heavenly Kings who protect the premises. The expression occurs ubiquitously in Chinese literature. See, e.g., a song allegedly written by an emperor during the eighth century in Tun-huang ch’ü chiao-lu, p. 50, l. 13; Chiu T’ang shu (Old history of the T’ang dynasty), comp. Liu Hsü (887–946) et al., 16 vols. (Peking: Chung-hua shu-chü, 1975), vol. 3, chüan 21, p. 822, ll. 8–9; a lyric by Chang Chi-hsien (1092–1126), Ch’üan Sung tz’u, 2:758, lower register, l. 4; Kuan-shih-yin p’u-sa pen-hsing ching, p. 10a, l. 8; Yüan-ch’ü hsüan, 4:1479, l. 8; Yüan-ch’ü hsüan wai-pien, 1:135, l. 14; Sha-kou chi, scene 35, p. 120, l. 4; a song by Wu Hung-tao (14th century), Ch’üan Yüan san-ch’ü, 1:727, l. 2; a song suite by Sung Fang-hu (14th century), ibid., 2:1310, l. 1; Chao-shih ku-erh chi, chüan 1, scene 8, p. 12b, l. 8; P’o-yao chi, chüan 1, scene 3, p. 7a, l. 2; Yü-huan chi, scene 34, p. 130, ll. 6–7; a lyric by Ch’en Hsün (1385–1462), Ch’üan Ming tz’u, 1:246, lower register, l. 4; a set of songs by Liu Liang-ch’en (1482–1551), Ch’üan Ming san-ch’ü, 2:1319, l. 10; a lyric by Yang Shen (1488–1559), Ch’üan Ming tz’u, 2:825, lower register, l. 12; a set of songs by Chin Luan (1494–1583), ibid., 2:1579, l. 1; Wang chao-chün ch’u-sai ho-jung chi, chüan 1, scene 10, p. 25a, l. 1; Hsi-yu chi, vol. 1, ch. 36, p. 413, l. 3; Mu-lien chiu-mu ch’üan-shan hsi-wen, chüan 1, p. 18a, l. 3; Ch’üan-Han chih-chuan, vol. 3, chüan 1, p. 4a, l. 8; San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 1, ch. 2, p. 24, l. 13; Sui-T’ang liang-ch’ao shih-chuan, chüan 12, ch. 119, p. 37a, l. 4; and an abundance of other occurrences, too numerous to list.