25. This four-character expression occurs ubiquitously in Chinese literature. See, e.g., T’ai-tzu ch’eng-tao ching (Sutra on how the crown prince [Śākyamuni] attained the Way), in Tun-huang pien-wen chi, 1:286, l. 4; Wei-mo-chieh ching chiang-ching wen (Sutra lecture on the Vimalakīrti sutra), text no. 4, in ibid., 2:598, l. 3; a set of songs by the Buddhist monk T’ai-ch’in (d. 974), Ch’üan T’ang shih pu-pien, 3:1389, l. 11; a poem by the Buddhist monk Tsung-kao (1089–1163), Ch’üan Sung shih, 30:19396, l. 8; a lyric by Ma Yü (1123–83), Ch’üan Chin Yüan tz’u, 1:277, upper register, l. 2; I-chien chih, vol. 1, chia-chih (first record), chüan 14, p. 123, l. 6; Yüeh Fei p’o-lu tung-ch’uang chi, chüan 1, scene 16, p. 24b, l. 9; Shui-hu ch’üan-chuan, vol. 4, ch. 90, p. 1467, l. 5; Lü Tung-pin fei-chien chan Huang-lung, p. 464, l. 15; Tung Yung yü-hsien chuan, p. 241, l. 15; Yüeh-ming Ho-shang tu Liu Ts’ui, p. 437, l. 12; Ta-Sung chung-hsing yen-i, vol. 2, chüan 7, p. 40b, l. 9; Ch’ien-t’ang Hu-yin Chi-tien Ch’an-shih yü-lu, p. 8b, l. 10; Ssu-hsi chi, scene 37, p. 94, l. 9; Hsi-yu chi, vol. 1, ch. 17, p. 199, l. 10; San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 1, ch. 21, p. 271, l. 2; Ta-T’ang Ch’in-wang tz’u-hua, vol. 2, chüan 6, ch. 42, p. 16b, l. 10; and an abundance of other occurrences, too numerous to list.
26. This formulaic four-character expression occurs in a lyric by Ma Yü (1123–83), Ch’üan Chin Yüan tz’u, 1:379, upper register, l. 7; Fo-yin shih ssu t’iao Ch’in-niang, p. 233, l. 6; Lü Tung-pin fei-chien chan Huang-lung, p. 462, ll. 10–11; and the middle-period vernacular story Cha-ch’uan Hsiao Ch’en pien Pa-wang (In Cha-ch’uan Hsiao Ch’en rebukes the Hegemon-King), in Ch’ing-p’ing shan-t’ang hua-pen, p. 320, l. 6.
27. See Roy, The Plum in the Golden Vase, vol. 1, chap. 2, n. 36.
28. The proximate source of the above set piece of parallel prose describing the temple, with some textual variation, is a passage in Shui-hu ch’üan-chuan, vol. 1, ch. 6, p. 102, ll. 2–5.
29. The proximate source of this set piece of parallel prose, with insignificant textual variations, is a passage in ibid., vol. 2, ch. 45, p. 732, ll. 4–7.
30. This four-character expression occurs in Ta-Sung chung-hsing yen-i, vol. 2, chüan 8, p. 23a, l. 6.
31. This four-character expression occurs ubiquitously in Chinese literature. See, e.g., a lyric by Hsiang Tzu-yin (1085–1152), Ch’üan Sung tz’u, 2:952, upper register, l. 8; a lyric by Shih Hao (1106–94), ibid., 2:1283, upper register, ll. 8–9; a lyric by Hsin Ch’i-chi (1140–1207), ibid., 3:1965, lower register, l. 10; a lyric by Cheng Yü (cs 1184), ibid., 4:2300, lower register, l. 16; a lyric by Chao I-fu (1189–1256), ibid., 4:2674, lower register, l. 7; a lyric by Yüan Hao-wen (1190–1257), Ch’üan Chin Yüan tz’u, 1:132, lower register, l. 2; the early vernacular story Chang Ku-lao chung-kua ch’ü Wen-nü (Chang Ku-lao plants melons and weds Wen-nü), in Ku-chin hsiao-shuo, vol. 2, chüan 33, p. 488, l. 7; Wu Lun-ch’üan Pei, chüan 2, scene 14, p. 24a, l. 8; an anonymous song suite in Yung-hsi yüeh-fu, ts’e 5, p. 19a, ll. 8–9; and a host of other occurrences, too numerous to list.
32. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., Yüan-ch’ü hsüan, 3:1027, l. 12; Han Yüan-shuai an-tu Ch’en-ts’ang, scene 1, p. 5b, l. 13; Nan Hsi-hsiang chi (Li Jih-hua), scene 36, p. 106, l. 6; Shang Lu san-yüan chi, chüan 2, scene 22, p. 3a, l. 3; Tu Li-niang mu-se huan-hun, p. 534, l. 14; Li Yün-ch’ing te-wu sheng-chen, scene 2, p. 5b, l. 12; Shih Chen-jen ssu-sheng so pai-yüan, scene 2, p. 6a, l. 2; T’ou-pi chi, chüan 2, scene 33, p. 30a, l. 3; Hsi-yu chi, vol. 1, ch. 36, p. 418, l. 7; San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 1, ch. 25, p. 332, ll. 12–13; Mu-tan t’ing, scene 10, p. 48, l. 3; Ta-T’ang Ch’in-wang tz’u-hua, vol. 2, chüan 8, ch. 58, p. 12b, l. 6; and a host of other occurrences, too numerous to list.
33. This four-character expression occurs in Hua-teng chiao Lien-nü ch’eng-Fo chi, p. 195, l. 5. A synonymous variant also occurs in the Chin P’ing Mei tz’u-hua, vol. 5, ch. 89, p. 12b, l. 7.
34. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., an anonymous song in Yüeh-fu ch’ün-chu, chüan 1, p. 20, l. 10; Yüan-ch’ü hsüan, 1:401, l. 4; T’ien-pao i-shih chu-kung-tiao, p. 183, l. 2; K’an p’i-hsüeh tan-cheng Erh-lang Shen, p. 244, l. 5; Shui-hu ch’üan-chuan, vol. 2, ch. 52, p. 858, l. 3; Feng-yüeh Nan-lao chi, scene 1, p. 2b, l. 11; an anonymous song suite in Yung-hsi yüeh-fu, ts’e 13, p. 68b, ll. 1–2; Pao-chien chi, scene 28, p. 51, l. 8; and an abundance of other occurrences, too numerous to list.
35. This formulaic four-character expression occurs ubiquitously in Chinese literature. See, e.g., a lyric by Ts’ai Shen (1088–1156), Ch’üan Sung tz’u, 2:1011, upper register, l. 16; a lyric by Tseng Ti (1109–80), ibid., 2:1316, lower register, l. 14; a lyric by Fan Ch’eng-ta (1126–93), ibid., 3:1616, lower register, ll. 13–14; a lyric by Hsin Ch’i-chi (1140–1207), ibid., 3:1879, lower register, l. 5; a lyric by Liu Ping-chung (13th century), Ch’üan Chin Yüan tz’u, 2:618, lower register, l. 6; [Chi-p’ing chiao-chu] Hsi-hsiang chi, play no. 1, scene 3, p. 32, l. 15; a lyric by Yü Chi (1272–1348), Ch’üan Chin Yüan tz’u, 2:863, lower register, l. 17–864, upper register, l. 1; a lyric by Chang Yeh (13th–14th centuries), ibid., 2:897, upper register, l. 9; Yüan-ch’ü hsüan wai-pien, 2:350, l. 4; a lyric by Ch’ü Yu (1341–1427), Ch’üan Ming tz’u, 1:171, upper register, l. 1; the anonymous Yüan-Ming tsa-chü drama Liang-shan wu-hu ta chieh-lao (The five tigers of Liang-shan carry out a great jailbreak), in Ku-pen Yüan Ming tsa-chü, vol. 3, scene 4, p. 7b, l. 12; Huai-hsiang chi, scene 26, p. 83, l. 2; a set of songs by Huang O (1498–1569), Ch’üan Ming san-ch’ü, 2:1746, l. 9; a lyric by Kao Lien (1527–c. 1603), Ch’üan Ming tz’u, 3:1174, lower register, l. 11; Ta-T’ang Ch’in-wang tz’u-hua, vol. 1, chüan 3, ch. 19, p. 31b, l. 1; and a host of other occurrences, too numerous to list.
36. A synonymous variant of this line occurs in Chang Hsieh chuang-yüan, scene 23, p. 121, ll. 3–4. It occurs in the same form as in the novel in Sha-kou chi, scene 10, p. 32, l. 3; Ching-ch’ai chi, scene 13, p. 39, l. 12; Pai-t’u chi, scene 31, p. 82, l. 3; Pai-she chi, chüan 2, scene 36, p. 38b, l. 1; Chin-yin chi, chüan 1, scene 7, p. 10a, l. 3; P’o-yao chi, chüan 1, scene 12, p. 35a, ll. 6–7; and the ch’uan-ch’i drama Ch’ien-chin chi (The thousand pieces of gold), by Shen Ts’ai (15th century), Liu-shih chung ch’ü ed., scene 8, p. 20, l. 11.
Chapter 90
1. This formulaic four-character expression occurs ubiquitously in Chinese literature. See, e.g., a quatrain by Liu Shang (late 8th century), Ch’üan T’ang shih, vol. 5, chüan 304, p. 3463, l. 10; a quatrain by Wu Yüan-heng (758–815), ibid., vol. 5, chüan 317, p. 3577, l. 10; a quatrain by Liu Yü-hsi (772–842), ibid., vol. 6, chüan 365, p. 4114, l. 12; a poem by Po Chü-i (772–846), ibid., vol. 7, chüan 427, p. 4703, l. 7; a poem by Lu Kuei-meng (fl. 865–881), ibid., vol. 9, chüan 625, p. 7183, l. 11; a poem by Cheng Ku (cs 887), ibid., vol. 10, chüan 676, p. 7742, l. 10; a quatrain attributed to Lü Tung-pin (9th century), ibid., vol. 12, chüan 858, p. 9703, l. 7; a quatrain by the Buddhist monk Chih-yüan (976–1022), Ch’üan Sung shih, 3:2544, l. 3; a quatrain by Hsü Chi (1028–1103), ibid., 11:7702, l. 4; a poem by Mao P’ang (1067–c. 1125), ibid., 21:14121, l. 5; a lyric by Hsin Ch’i-chi (1140–1207), Ch’üan Sung tz’u, 3:1921, upper register, ll. 11–12; a lyric by Wang Shen (1155–1227), ibid., 3:2196, upper register, l. 15; a lyric by Kuo Ying-hsiang (b. 1158, cs 1181), ibid., 4:2225, upper register, ll. 9–10; a lyric written in 1239 by Li Tseng-po (1198–c. 1265), ibid., 4:2807, lower register, l. 4; a lyric by Wang Yün (1228–1304), Ch’üan Chin Yüan tz’u, 2:678, lower register, l. 7; a lyric by Liu Yin (1249–93), ibid., 2:782, lower register, l. 4; the early vernacular story Ts’ui Tai-chao sheng-ssu yüan-chia (Artisan Ts’ui and his ghost wife), in Ching-shih t’ung-yen, chüan 8, p. 91, l. 12; Pai-t’u chi, scene 9, p. 28, l. 4; a lyric by Huang Hsi (1468–1525), Ch’üan Ming tz’u pu-pien, 1:164, lower register, l. 14; a set of song
s by Wang Chiu-ssu (1468–1551), Ch’üan Ming san-ch’ü, 1:932, l. 2; a lyric written in 1527 by Li Fan (cs 1506), Ch’üan Ming tz’u, 2:583, lower register, l. 13; a song suite by Chang Feng-i (1527–1613), Ch’üan Ming san-ch’ü, 3:2611, l. 3; a set of songs by Hsüeh Lun-tao (c. 1531–c. 1600), ibid., 3:2735, l. 2; and an abundance of other occurrences, too numerous to list.
2. A positive rather than negative variant of this couplet occurs in Wu Lun-ch’üan Pei, chüan 1, scene 6, p. 29a, l. 6.
3. This poem, with insignificant textual variations, occurs in Ming-hsin pao-chien, chüan 2, p. 4b, ll. 5–7.
4. This formulaic four-character expression occurs ubiquitously in Chinese literature. See, e.g., a eulogy by Liu Ling (3rd century), Wen-hsüan (Selections of refined literature), comp. Hsiao T’ung (501–31), 3 vols., fac. repr. (Peking: Chung-hua shu-chü, 1981), vol. 3, chüan 47, p. 8a, l. 7; a lyric by Liu Yung (cs 1034), Ch’üan Sung tz’u, 1:20, lower register, l. 1; a lyric by Yen Shu (991–1055), Ch’üan Sung tz’u pu-chi (Supplement to Complete tz’u lyrics of the Sung), comp. K’ung Fan-li (Peking: Chung-hua shu-chü, 1981), p. 2, lower register, l. 7; a literary tale in Ch’ing-so kao-i (Lofty sentiments from the green latticed windows), comp. Liu Fu (fl. 1040–1113) (Shanghai: Ku-tien wen-hsüeh ch’u-pan she, 1958), ch’ien-chi, chüan 4, p. 39, l. 1; a lyric by Shen Ying (cs 1160), Ch’üan Sung tz’u, 3:1650, upper register, l. 5; a lyric by Chao Shan-k’uo (12th century), ibid., 3:1989, lower register, l. 11; a lyric written in 1204 by Kuo Ying-hsiang (b. 1158, cs 1181), ibid., 4:2224, upper register, l. 14; a lyric by Li Chün-ming (1176–c. 1256), Ch’üan Chin Yüan tz’u, 1:65, upper register, l. 12; a lyric by Yüan Hao-wen (1190–1257), ibid., 1:131, upper register, l. 12; a lyric by Liu Chih-yüan (13th century), ibid., 1:573, lower register, l. 12; a lyric by Ts’ao Po-ch’i (1255–1333), ibid., 2:817, upper register, l. 6; a song suite by Sung Fang-hu (14th century), Ch’üan Yüan san-ch’ü, 2:1309, l. 10; Yüan-ch’ü hsüan, 2:727, l. 11; the early vernacular story Ts’ui Ya-nei pai-yao chao-yao (The white falcon of Minister Ts’ui’s son embroils him with demons), in Ching-shih t’ung-yen, chüan 19, p. 268, l. 1; Ch’ing-ho hsien chi-mu ta-hsien, p. 218, l. 8; a lyric by Ku Hsün (1418–1505), Ch’üan Ming tz’u, 1:293, lower register, l. 11; a lyric by Shih Chien (1434–96), ibid., 1:345, lower register, l. 6; a set of songs by K’ang Hai (1475–1541), Ch’üan Ming san-ch’ü, 1:1136, l. 4; a song suite by Wang Ch’ung (1494–1533), ibid., 2:1569, l. 4; a pair of songs by Chang Lien (cs 1544), ibid., 2:1673, ll. 2–3; Hai-fu shan-t’ang tz’u-kao, chüan 3, p. 154, l. 14; Pa-i chi, scene 11, p. 26, l. 7; Hsi-yu chi, vol. 2, ch. 63, p. 726, l. 11; a set of songs by Hsüeh Lun-tao (c. 1531–c. 1600), Ch’üan Ming san-ch’ü, 3:2716, l. 12; and an abundance of other occurrences, too numerous to list.
5. This formulaic four-character expression occurs ubiquitously in Chinese literature. See, e.g., a poem by Wu Yüan-heng (758–815), Ch’üan T’ang shih, vol. 5, chüan 316, p. 3546, l. 12; a remark attributed to Po Chü-i (772–846) in T’ang chih-yen (A gleaning of T’ang anecdotes), by Wang Ting-pao (870–c. 954) (Shanghai: Ku-tien wen-hsüeh ch’u-pan she, 1957), chüan 13, p. 149, l. 11; a remark attributed to Ch’en T’uan (895–989), in Hsiang-shan yeh-lu (An informal record compiled in Hsiang-shan), by the Buddhist monk Wen-ying (11th century), in Shuo-k’u (A treasury of literary tales), comp. Wang Wen-ju (fl. early 20th century), originally published in 1915, fac. repr., 2 vols. (Taipei: Hsin-hsing shu-chü, 1963), vol. 1, chüan 4, p. 3a, l. 2; a lyric by Emperor Hui-tsung of the Sung dynasty (r. 1100–1125), Ch’üan Sung tz’u, 2:896, lower register, l. 2; a quatrain by Fan Ch’eng-ta (1126–93), Ch’üan Sung shih, 41:25982, l. 16; a lyric by Wang Chi-ch’ang (12th century), Ch’üan Chin Yüan tz’u, 1:554, upper register, ll. 14–15; a lyric by Yao Shu-yao (cs 1154), Ch’üan Sung tz’u, 3:1549, upper register, l. 7; a lyric by Shen Tuan-chieh (12th century), ibid., 3:1682, upper register, l. 6; a lyric by Chao Ch’ang-ch’ing (12th century), ibid., 3:1781, upper register, l. 16; Meng-liang lu (Record of the millet dream), comp. Wu Tzu-mu (13th century), pref. dated 1274, in Tung-ching meng-hua lu [wai ssu-chung] (A dream of past splendors in the Eastern Capital [plus four other works]), comp. Meng Yüan-lao (12th century) et al. (Shanghai: Shang-hai ku-chi wen-hsüeh ch’u-pan she, 1956), chüan 2, p. 148, l. 13; a set of songs by Hsüeh Ang-fu (14th century), Ch’üan Yüan san-ch’ü, 1:710, l. 4; Chin-ming ch’ih Wu Ch’ing feng Ai-ai, p. 464, l. 11; P’i-p’a chi, scene 9, p. 59, l. 3; P’o-yao chi, chüan 1, scene 11, p. 31a, l. 10; a lyric by Ku Hsün (1418–1505), Ch’üan Ming tz’u, 1:298, lower register, l. 3; a lyric by Lu Ko (cs 1481), ibid., 2:379, lower register, ll. 6–7; Nan Sung chih-chuan, vol. 1, chüan 1, p. 12b, l. 8; Ssu-hsi chi, scene 5, p. 13, l. 1; and an abundance of other occurrences, too numerous to list.
6. The character Li Kuei, with the nickname of Shantung Yaksha, is taken from the early vernacular story Yang Wen lan-lu hu chuan (The story of Yang Wen, the road-blocking tiger), in Ch’ing-p’ing shan-t’ang hua-pen, p. 174, l. 1.
7. The Shao-lin school of combat with quarterstaffs and the Yüeh Fei school of boxing are two well-known traditions of martial arts.
8. See Roy, The Plum in the Golden Vase, vol. 2, chap. 2, n. 2.
9. The proximate source of this set piece of rhyming parallel prose, with minor textual variations, is a passage in Yü-huan chi, scene 14, p. 45, ll. 1–7.
10. The words li and shih for “pears” and “persimmons” pun with the compound li-shih meaning “profitable business,” so depictions of these fruits often occur as auspicious symbols in Chinese art. See Terese Tse Bartholomew, Hidden Meanings in Chinese Art (San Francisco: Asian Art Museum, 2006), p. 155.
11. This expression is the name of a domino combination, for a picture of which see San-ts’ai t’u-hui (Assembled illustrations from the three realms), comp. Wang Ch’i (c. 1535–c. 1614), pref. dated 1609, 6 vols., fac. repr. (Taipei: Ch’eng-wen ch’u-pan she, 1970), vol. 4, Jen-shih (Human affairs), chüan 8, p. 44b. It also occurs in an anonymous song suite playing on the subject of domino combinations in Ch’ün-yin lei-hsüan, 4:2353, l. 5; and in Ta-T’ang Ch’in-wang tz’u-hua, vol. 2, chüan 6, ch. 47, p. 58b, l. 7.
12. This four-character expression occurs in Yang Wen lan-lu hu chuan, p. 173, l. 11.
13. This four-character expression occurs in Yüan-ch’ü hsüan wai-pien, 1:3, l. 2.
14. This four-character expression occurs in Feng-yüeh Nan-lao chi, hsieh-tzu (wedge), p. 1, l. 8; and Ch’üan-Han chih-chuan, vol. 2, chüan 1, p. 8b, l. 7.
15. Variants of this proverbial couplet occur ubiquitously in Chinese vernacular literature. See, e.g., the prose preface to an encomium by the Buddhist monk I-ch’ing (1032–83), Ch’üan Sung shih, 12:8218, l. 17; Yüan-ch’ü hsüan wai-pien, 2:413, l. 9; Ching-ch’ai chi, scene 24, p. 76, l. 9; Ch’ien-chin chi, scene 12, p. 33, l. 10; Hsiu-ju chi, scene 13, p. 38, l. 3; Ch’en Hsün-chien Mei-ling shih-ch’i chi, p. 127, ll. 9–10; Hung-fu chi, scene 14, p. 26, l. 11; Yü-chüeh chi, scene 13, p. 40, l. 10; Hsi-yu chi, vol. 1, ch. 21, p. 241, l. 13; Mu-lien chiu-mu ch’üan-shan hsi-wen, chüan 2, p. 82b, ll. 8–9; and San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 1, ch. 9, p. 115, l. 1.
16. This four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., San-kuo chih t’ung-su yen-i, vol. 1, chüan 9, p. 418, l. 19; Shui-hu ch’üan-chuan, vol. 4, ch. 98, p. 1539, l. 15; Hsi-yu chi, vol. 1, ch. 17, p. 200, l. 14; Mu-tan t’ing, scene 38, p. 197, l. 9; and Sui-T’ang liang-ch’ao shih-chuan, chüan 4, ch. 40, p. 64a, l. 6.
17. This line occurs independently in the middle-period vernacular story Li Yüan Wu-chiang chiu chu-she (Li Yüan saves a red snake on the Wu River), in Ch’ing-p’ing shan-t’ang hua-pen, p. 324, l. 6.
18. This quatrain occurs verbatim in the middle-period vernacular story Ts’ao Po-ming ts’o-k’an tsang chi (The story of Ts’ao Po-ming and the mistaken identification of the booty), in Ch’ing-p’ing shan-t’ang hua-pen, p. 210, ll. 14–15.
19. This proverbial couplet o
ccurs in Hsi-yu chi, vol. 2, ch. 99, p. 1120, l. 14; and San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 1, ch. 4, p. 52, ll. 10–11.
20. This line occurs in San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 1, ch. 5, p. 57, l. 14.
21. A variant of this line occurs in the Chin P’ing Mei tz’u-hua, vol. 5, ch. 94, p. 9b, l. 9.
22. On this figure see Roy, The Plum in the Golden Vase, vol. 3, chap. 49, n. 83.
23. A version of this poem, with considerable textual variation in the first couplet, has already occurred in the novel as the closing poem of chapter 49. See ibid., p. 202, ll. 1–8.
The Plum in the Golden Vase or, Chin P'ing Mei Page 68
