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

by Roy, David Tod

  Chapter 91

  1. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., Hsüeh Jen-kuei cheng-Liao shih-lüeh, p. 30, l. 13; a lyric by Liu Chi (1311–75), Ch’üan Ming tz’u, 1:88, lower register, l. 9; Chien-teng yü-hua, chüan 1, p. 154, l. 8; a song suite by Chu Yu-tun (1379–1439), Ch’üan Ming san-ch’ü, 1:360, l. 12; an anonymous song suite in Sheng-shih hsin-sheng, p. 554, l. 5; Ming-feng chi, scene 20, p. 87, l. 8; Shuang-lieh chi, scene 4, p. 11, l. 11; Ta-T’ang Ch’in-wang tz’u-hua, vol. 1, chüan 1, ch. 8, p. 86b, l. 1; and a host of other occurrences, too numerous to list.

  2. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., a speech attributed to the Buddhist monk Chao-chou Ts’ung-shen (778–897), Wu-teng hui-yüan, vol. 1, chüan 4, p. 199, ll. 7–8; a speech attributed to the Buddhist monk K’o-ch’in (1063–1135), ibid., vol. 3, chüan 19, p. 1257, l. 15; Ch’i-kuo ch’un-ch’iu p’ing-hua, p. 48, l. 3; San-kuo chih p’ing-hua, p. 35, l. 8; San-kuo chih t’ung-su yen-i, chüan 2, p. 58, l. 12; Shui-hu ch’üan-chuan, vol. 2, ch. 46, p. 763, l. 1; Ta-Sung chung-hsing yen-i, vol. 2, chüan 5, p. 6a, l. 6; T’ang-shu chih-chuan t’ung-su yen-i, vol. 1, chüan 3, p. 26b, l. 2; and an abundance of other occurrences, too numerous to list.

  3. Variants of this proverbial couplet occur frequently in Chinese vernacular literature. See, e.g., T’ai-kung chia-chiao (Family teachings of T’ai-kung), in Chou Feng-wu, Tun-huang hsieh-pen T’ai-kung chia-chiao yen-chiu (A study of the Tun-huang manuscripts of the T’ai-kung chia-chiao) (Taipei: Ming-wen shu-chü, 1986), p. 21, l. 5; Yüan-ch’ü hsüan, 2:581, l. 16; Yüan-ch’ü hsüan wai-pien, 1:332, l. 18; Chao-shih ku-erh chi, chüan 2, scene 41, p. 36b, l. 4; the earliest extant printed edition of the Yüan-Ming ch’uan-ch’i drama [Hsin-pien] Liu Chih-yüan huan-hsiang Pai-t’u chi ([Newly compiled] Liu Chih-yüan’s return home: The white rabbit), in Ming Ch’eng-hua shuo-ch’ang tz’u-hua ts’ung-k’an, ts’e 12, p. 19a, ll. 5–6; Hsiang-nang chi, scene 30, p. 89, l. 6; Hsün-ch’in chi, scene 21, p. 72, l. 12; Chiang Shih yüeh-li chi, chüan 1, scene 6, p. 9b, l. 4; T’ou-pi chi, chüan 2, scene 33, p. 28b, l. 9; and Pa-i chi, scene 40, p. 86, l. 3. It occurs in the same form as in the novel in Yüan-ch’ü hsüan, 3:869, l. 7. The first line of the couplet also occurs independently in Lü-shih ch’un-ch’iu (The spring and autumn annals of Mr. Lü), comp. Lü Pu-wei (d. 235 B.C.), in Chu-tzu chi-ch’eng (A corpus of the philosophers), 8 vols. (Hong Kong: Chung-hua shu-chü, 1978), vol. 6, chüan 1, p. 3, l. 10; Huai-nan tzu (Book of the Prince of Huai-nan), comp. Liu An (d. 122 B.C.), Huai-nan hung-lieh chi-chieh (Collected commentaries on the Huai-nan tzu), ed. Liu Wen-tien, 2 vols. (Taipei: T’ai-wan Shang-wu yin-shu kuan, 1969), vol. 2, chüan 15, p. 20b, l. 10; a poem by Chou Chih-wei (cs 1097), Ch’üan Sung shih, 22:14768, l. 4; and Chien-teng hsin-hua, chüan 3, p. 71, l. 12.

  4. This proverbial saying occurs in Yüan-ch’ü hsüan, 4:1734, l. 12; and Hsi-yu chi, vol. 1, ch. 3, p. 32, ll. 11–12.

  5. This proverbial couplet occurs often in Chinese vernacular literature. See, e.g., Ming-hsin pao-chien, chüan 1, p. 2a, l. 6; Yu-kuei chi, scene 26, p. 78, l. 11; Huang hsiao-tzu, chüan 2, scene 22, p. 23b, l. 3; Hsün-ch’in chi, scene 12, p. 36, l. 6; Hsiang-nang chi, scene 29, p. 84, l. 7; Hsi-yu chi, vol. 1, ch. 18, p. 204, l. 13; and K’o-tso chui-yü, chüan 1, p. 10, l. 12. The first line also occurs independently in a poem attributed to Lü Tung-pin (9th century), Ch’üan T’ang shih, vol. 12, chüan 858, p. 9704, l. 8; a lyric by Wang Che (1112–70), Ch’üan Chin Yüan tz’u, 1:203, lower register, l. 14; a set of songs by Chang Yang-hao (1270–1329), Ch’üan Yüan san-ch’ü, 1:435, l. 3; Yüan-ch’ü hsüan, 2:844, l. 20; Chin-t’ung Yü-nü Chiao Hung chi, p. 10, l. 4; Yüeh Fei p’o-lu tung-ch’uang chi, chüan 1, scene 18, p. 28b, l. 7; Shuang-chu chi, scene 12, p. 35, l. 3; Ming-chu chi, scene 31, p. 98, l. 6; a set of songs by Hsüeh Lun-tao (c. 1531–c. 1600), Ch’üan Ming san-ch’ü, 3:2809, l. 3; and an abundance of other occurrences, too numerous to list.

  6. This example of a hsieh-hou yü turns on a pun between the words tung meaning “to freeze,” and tung meaning “to move.”

  7. A variant of this proverbial couplet occurs in Yüan-ch’ü hsüan wai-pien, 1:51, l. 5.

  8. This four-character expression occurs in the long literary tale Chiao Hung chuan (The Story of Chiao-niang and Fei-hung), by Sung Yüan (14th century), in Ku-tai wen-yen tuan-p’ien hsiao-shuo hsüan-chu, erh-chi (An annotated selection of classic literary tales, second collection), ed. Ch’eng Po-ch’üan (Shanghai: Shang-hai ku-chi ch’u-pan she, 1984), p. 293, l. 8; and recurs in the Chin P’ing Mei tz’u-hua, vol. 5, ch. 98, p. 5b, l. 8.

  9. This proverbial saying occurs in Pai Niang-tzu yung-chen Lei-feng T’a, p. 439, l. 4; Yüeh Fei p’o-lu tung-ch’uang chi, chüan 1, scene 16, p. 25a, l. 8; and Yen-chih chi, chüan 2, scene 33, p. 19b, l. 11. A synonymous variant of this saying also occurs in the Chin P’ing Mei tz’u-hua, vol. 5, ch. 93, p. 8a, ll. 6–7.

  10. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., Cheng Chieh-shih li-kung shen-pi kung, p. 663, l. 10; Hsiao fu-jen chin-ch’ien tseng nien-shao, p. 223, l. 10; Chin-ch’ai chi, scene 31, p. 58, l. 2; Hsiang-nang chi, scene 25, p. 72, l. 6; San-kuo chih t’ung-su yen-i, vol. 1, chüan 11, p. 503, l. 24; Ming-chu chi, scene 7, p. 18, l. 6; the middle-period vernacular story Liu Ch’i-ch’ing shih-chiu Wan-chiang Lou chi (Liu Ch’i-ch’ing indulges in poetry and wine in the Riverside Pavilion), in Ch’ing-p’ing shan-t’ang hua-pen, p. 1, l. 10; Ta-Sung chung-hsing yen-i, vol. 1, chüan 1, p. 41a, l. 2; T’ang-shu chih-chuan t’ung-su yen-i, vol. 2, chüan 8, p. 22a, l. 5; Hsi-yu chi, vol. 1, ch. 9, p. 90, l. 2; Pai-chia kung-an, chüan 6, ch. 52, p. 8b, l. 13–p. 9a, l. 1; Sui-T’ang liang-ch’ao shih-chuan, chüan 4, ch. 36, p. 37a, l. 6; and a host of other occurrences, too numerous to list. It also recurs in the Chin P’ing Mei tz’u-hua, vol. 5, ch. 91, p. 8a, l. 5.

  11. This formulaic four-character expression occurs ubiquitously in Chinese literature. See, e.g., a poem by Wang An-shih (1021–86), as quoted in Chi-le pien (Chicken ribs collection), by Chuang Ch’o (c. 1090–c. 1150), pref. dated 1133 (Peking: Chung-hua shu-chü, 1983), chüan 1, p. 2, l. 2; a poem by Feng Shan (cs 1057, d. 1094), Ch’üan Sung shih, 13:8664, l. 4; a lyric by Tung Te-yüan (1096–1163), Ch’üan Sung tz’u, 2:1168, lower register, l. 9; Yüan-ch’ü hsüan, 1:297, l. 2; Yüan-ch’ü hsüan wai-pien, 1:324, l. 11; Ching-ch’ai chi, scene 2, p. 3, l. 12; Chin-yin chi, chüan 1, scene 6, p. 7b, ll. 1–2; the early vernacular story Yü Chung-chü t’i-shih yü shang-huang (Yü Chung-chü composes a poem and meets the retired emperor, Sung Kao-tsung [r. 1127–62]), in Ching-shih t’ung-yen, chüan 6, p. 67, l. 12; the anonymous Yüan-Ming tsa-chü drama Nü ku-ku shuo-fa sheng-t’ang chi (The nun who took the pulpit to expound the dharma), in Ku-pen Yüan Ming tsa-chü, vol. 3, hsieh-tzu (wedge), p. 1a, l. 11; P’o-yao chi, chüan 1, scene 5, p. 14b, l. 9; Chin-ch’ai chi, scene 2, p. 5, l. 17; the tsa-chü drama Cho Wen-chün ssu-pen Hsiang-ju (Cho Wen-chün elopes with [Ssu-ma] Hsiang-ju), by Chu Ch’üan (1378–1448), in Ming-jen tsa-chü hsüan, scene 3, p. 129, ll. 3–4; Shen-hsiang ch’üan-pien, chüan 634, p. 16a, l. 6; Shang Lu san-yüan chi, chüan 2, scene 27, p. 14b, ll. 3–4; the anonymous Ming tsa-chü drama Wang Wen-hsiu Wei-t’ang ch’i-yü chi (The story of Wang Wen-hsiu’s remarkable encounter in Wei-t’ang), in Ku-pen Yüan Ming tsa-chü, vol. 4, scene 1, p. 1a, l. 12; Yen-chih chi, chüan 1, scene 5, p. 6b, l. 9; a set of songs by Hsüeh Lun-tao (c. 1531–c. 1600), Ch’üan Ming san-ch’ü, 3:2895, l. 13; and an abundance of other occurrences, too numerous to list.

  12. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., Yüan-ch’ü hsüan wai-pien, 2:445, l. 10; Liang-shan wu-hu ta chieh-lao, scene 2, p. 2b, l. 14; San-kuo chih t’ung-su yen-i, vol. 1, chüan 2, p. 96, l. 15; Shui-hu ch’üan-chuan, vol. 1, ch. 13, p. 187, l. 11; the ch’uan-ch’i drama Lien-huan chi (A stratagem of interlocking rings), by Wang Chi
(1474–1540) (Peking: Chung-hua shu-chü, 1988), scene 6, p. 14, l. 9; Shuang-lieh chi, scene 2, p. 3, l. 9; and Ta-T’ang Ch’in-wang tz’u-hua, vol. 1, chüan 4, ch. 25, p. 3a, l. 5.

  13. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., Tun-huang pien-wen chi, 1:405, l. 14; ibid., 2:815, l. 7; [Chi-p’ing chiao-chu] Hsi-hsiang chi, play no. 2, scene 1, p. 51, l. 14; Yüan-ch’ü hsüan, 4:1302, l. 3; Hua-teng chiao Lien-nü ch’eng-Fo chi, p. 202, l. 9; Ching-ch’ai chi, scene 3, p. 6, ll. 8–9; P’i-p’a chi, scene 6, p. 43, l. 13; Yü-huan chi, scene 26, p. 94, l. 9; Pai-t’u chi, scene 16, p. 48, ll. 7–8; Ming-chu chi, scene 7, p. 18, l. 1; San Sui p’ing-yao chuan, chüan 1, ch. 4, p. 38a, ll. 7–8; K’uai-tsui Li Ts’ui-lien chi, p. 53, l. 5; Hsi-yu chi, vol. 1, ch. 19, p. 214, l. 13; Mu-lien chiu-mu ch’üan-shan hsi-wen, chüan 3, p. 32b, l. 4; Kuan-yüan chi, scene 15, p. 31, l. 6; and Mu-tan t’ing, scene 55, p. 277, l. 13.

  14. This four-character expression is of Buddhist origin and occurs ubiquitously in Chinese literature. See, e.g., a speech by the Buddhist monk Ling-tsun (845–919), Wu-teng hui-yüan, vol. 1, chüan 5, p. 296, l. 11; Lu-shan Yüan-kung hua, 1:174, l. 1; a quatrain by Han Wei (1017–98), Ch’üan Sung shih, 8:5285, l. 2; a poem by Li Kang (1083–1140), ibid., 27:17589, l. 14; Kuan-shih-yin p’u-sa pen-hsing ching, p. 72b, l. 9; a commentary on the Diamond Sutra, by Yen Ping (d. 1212), as quoted in Chin-kang ching chi-chu (The Vajracchedikā prajñāpāramitā sutra with collected commentaries), comp. by the Yung-lo emperor of the Ming dynasty (r. 1402–24), pref. dated 1424, fac. repr. of original edition (Shanghai: Shang-hai ku-chi ch’u-pan she, 1984), p. 113a, column 6; Chu-tzu yü-lei (Classified sayings of Master Chu), comp. Li Ching-te (13th century), 8 vols. (Taipei: Cheng-chung shu-chü, 1982), vol. 3, chüan 35, p. 16a, l. 7; P’i-p’a chi, scene 33, p. 182, l. 8; Wu Lun-ch’üan Pei, chüan 1, scene 5, p. 22b, l. 2; a lyric by Wang Chiao (1514–70), Ch’üan Ming tz’u pu-pien, 1:430, upper register, l. 3; [Hsiao-shih] Chen-k’ung pao-chüan ([Clearly presented] Precious volume on [the teaching of the Patriarch] Chen-k’ung), in Pao-chüan ch’u-chi, 19:281, l. 11; Mu-lien chiu-mu ch’üan-shan hsi-wen, chüan 3, p. 50a, l. 5; Ssu-sheng yüan (Four cries of a gibbon), by Hsü Wei (1521–93), originally published in 1588, ed. and annot. Chou Chung-ming (Shanghai: Shang-hai ku-chi ch’u-pan she, 1984), p. 21, l. 1; and a host of other occurrences, too numerous to list.

  15. This formulaic four-character expression occurs together with the preceding one in Fo-shuo Huang-chi chieh-kuo pao-chüan (Precious volume expounded by the Buddha on the karmic results of the era of the Imperial Ultimate), originally published in 1430, in Pao-chüan ch’u-chi, 10:328, l. 5; Huang-chi chin-tan chiu-lien cheng-hsin kuei-chen huan-hsiang pao-chüan, 8:17, l. 5; and Hsi-yu chi, vol. 1, ch. 2, p. 13, l. 7. It also occurs independently in Tsu-t’ang chi, chüan 1, p. 6, l. 23; Kuan-shih-yin p’u-sa pen-hsing ching, p. 108b, l. 5; and San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 1, ch. 1, p. 3, l. 10.

  16. This formulaic four-character expression occurs ubiquitously in Chinese literature. See, e.g., a quatrain attributed to Fu Tsai (8th century), Ch’üan T’ang shih, vol. 7, chüan 472, p. 5354, l. 10; a quatrain written in 1119 by Ts’ai Ching (1046–1126), Ch’üan Sung shih, 18:11945, l. 14; Chang Hsieh chuang-yüan, scene 21, p. 113, l. 3; a song suite by Kuan Han-ch’ing (13th century), Ch’üan Yüan san-ch’ü, 1:180, l. 11; Yüan-ch’ü hsüan, 3:1276, l. 15; Wu-wang fa Chou p’ing-hua (The p’ing-hua on King Wu’s conquest of King Chou), originally published in 1321–23 (Shanghai: Chung-kuo ku-tien wen-hsüeh ch’u-pan she, 1955), p. 6, l. 11; P’o-yao chi, chüan 2, scene 20, p. 10b, l. 4; Yü-huan chi, scene 6, p. 15, l. 8; Hsiang-nang chi, scene 32, p. 96, l. 8; a lyric by Lin Chün (1452–1527), Ch’üan Ming tz’u, 2:397, lower register, ll. 2–3; and Tung Yung yü-hsien chuan, p. 237, l. 14.

  17. This formulaic four-character expression has already appeared in the Chin P’ing Mei tz’u-hua, vol. 1, ch. 13, p. 11b, l. 9; and occurs ubiquitously in Chinese literature. See, e.g., a poem by Meng Hao-jan (689–740), Ch’üan T’ang shih, vol. 3, chüan 159, p. 1630, l. 11; the title of a poem by Liu Fang-p’ing (8th century), ibid., vol. 4, chüan 251, p. 2837, l. 1; the title of a poem by Wen T’ing-yün (c. 812–c. 870), ibid., vol. 9, chüan 581, p. 6737, l. 6; the title of a quatrain by Wu Chien-yen (cs 989), Ch’üan Sung shih, 2:855, l. 9; the title of a poem by Hua Chen (b. 1051, cs 1079), ibid., 18:12303, l. 10; I-chien chih, vol. 1, chia-chih (first record), chüan 18, p. 165, l. 5; a lyric by Ch’en Te-wu (13th century), Ch’üan Sung tz’u, 5:3459, upper register, l. 5; a lyric by the poetess Chang Yü-niang (14th century), Ch’üan Chin Yüan tz’u, 2:871, upper register, l. 16; a set of songs by Ch’en To (fl. early 16th century), Ch’üan Ming san-ch’ü, 1:510, l. 9; a song suite by Chu Ying-ch’en (16th century), ibid., 2:1266, l. 13; a lyric by Hsü Wei (1521–93), Ch’üan Ming tz’u, 3:1078, lower register, l. 12; and a host of other occurrences, too numerous to list.

  18. For the allusion behind this line, see Roy, The Plum in the Golden Vase, vol. 1, chap. 2, n. 47.

  19. See ibid., chap. 12, n. 49.

  20. I have emended the text here as suggested in Mei Chieh, Chin P’ing Mei tz’u-hua chiao-tu chi, p. 454, ll. 20–25.

  21. See Roy, The Plum in the Golden Vase, vol. 4, chap. 61, n. 100.

  22. For this allusion, see ibid., vol. 1, chap. 8, n. 5.

  23. This four-character expression occurs in Han Hsiang-tzu chiu-tu Wen-kung sheng-hsien chi, chüan 1, scene 3, p. 4b, l. 3.

  24. This formulaic four-character expression occurs ubiquitously in Chinese literature. See, e.g., a poem by Po Chü-i (772–846), Ch’üan T’ang shih, vol. 7, chüan 460, p. 5242, l. 16; Chang Hsieh chuang-yüan, scene 3, p. 24, l. 12; Pai-t’u chi, scene 13, p. 43, l. 3; a fragment of the lost early Ming ch’uan-ch’i drama Hsi-kua chi (The watermelon story), in Feng-yüeh chin-nang [chien-chiao], scene 14, p. 631, l. 7; Ho-t’ung wen-tzu chi, p. 38, l. 2; Tung Yung yü-hsien chuan, p. 239, l. 7; and an anonymous song suite in Yung-hsi yüeh-fu, ts’e 6, p. 35a, l. 9.

  25. The Chinese text for these nine lines appears to have been inadvertently omitted from the text in the Chin Ping Mei tz’u-hua and has been supplied from the B edition of the text as given in [Hsin-k’o hsiu-hsiang p’i-p’ing] Chin P’ing Mei ([Newly cut illustrated commentarial edition] of the Chin P’ing Mei), 2 vols. (Chi-nan: Ch’i-Lu shu-she, 1989), vol. 2, chap. 91, p. 1293, ll. 11–12. See, Mei Chieh, Chin P’ing Mei tz’u-hua chiao-tu chi, p. 455, ll. 3–6.

  26. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., Cheng Chieh-shih li-kung shen-pi kung, p. 672, l. 6; Chin-ming ch’ih Wu Ch’ing feng Ai-ai, p. 469, l. 15; Fo-yin shih ssu t’iao Ch’in-niang, p. 233, l. 7; Shui-hu ch’üan-chuan, vol. 1, ch. 2, p. 17, l. 12; and San Sui p’ing-yao chuan, chüan 1, ch. 3, p. 29b, l. 1. It also recurs in the Chin P’ing Mei tz’u-hua, vol. 5, ch. 94, p. 10b, l. 1; and ch. 97, p. 9b, ll. 7–8.

  27. See Roy, The Plum in the Golden Vase, vol. 2, chap. 27, n. 30.

  28. This formulaic line occurs ubiquitously in Chinese vernacular literature. See, e.g., Ching-ch’ai chi, scene 8, p. 20, l. 5; Pai-t’u chi, scene 18, p. 56, l. 2; Yü-huan chi, scene 34, p. 128, ll. 2–3; Huang hsiao-tzu, chüan 2, scene 26, p. 45a, ll. 2–3; Huai-hsiang chi, scene 38, p. 129, l. 7; Yen-chih chi, chüan 2, scene 40, l. 9; and a host of other occurrences, too numerous to list.

  29. For this allusion, see Roy, The Plum in the Golden Vase, vol. 2, chap. 36, n. 22.

  30. See ibid., vol. 1, chap. 19, n. 38.

  31. This four-character expression occurs in Nan Ch’i shu (History of the Southern Ch’i dynasty), comp. Hsiao Tzu-hsien (489–537), 3 vols. (Peking: Chung-hua shu-chü, 1972), vol. 3, chüan 57, p. 997, l. 2; Yüan-ch’ü hsüan, 4:1396, ll. 5–6; and the tsa-chü drama Hei Hsüan-feng chang-i shu-ts’ai (The Black Whirlwind is chivalrous and openhanded), by Chu Yu-tun (1379–1439), in Shui-hu hsi-ch’ü chi, ti-i chi, scene 4, p. 111, ll. 23–24.

  32. This formulaic
four-character expression occurs ubiquitously in Chinese literature. See, e.g., a poem by Lu T’ung (d. 835), Ch’üan T’ang shih, vol. 6, chüan 386, p. 4383, l. 4; a poem by Hsü Hsüan (917–92), ibid., vol. 11, chüan 755, p. 8585, l. 9; a lyric by Ch’en Kuan (1057–1122), Ch’üan Sung tz’u, 2:634, upper register, ll. 2–3; a poem by Sun Ti (1081–1169), Ch’üan Sung shih, 26:17023, l. 3; a lyric by Chang Chi (13th century), Ch’üan Sung tz’u, 4:2557, upper register, l. 9; a lyric written in 1238 by Liu K’o-chuang (1187–1269), ibid., 4:2640, upper register, l. 9; a lyric by Hsia Yen (1482–1548), Ch’üan Ming tz’u, 2:671, lower register, l. 8; and a set of songs by Chang Lien (cs 1544), Ch’üan Ming san-ch’ü, 2:1654, l. 2.

  33. A synonymous variant of this line occurs in a quatrain by Han Wo (844–923), Ch’üan T’ang shih, vol. 10, chüan 683, p. 7846, l. 10.

  34. This couplet occurs verbatim in Yü-huan chi, scene 7, p. 22, l. 8.

  35. This five-character expression occurs as the name of a domino combination. See the illustration in San-ts’ai t’u-hui, vol. 4, jen-shih (Human affairs), chüan 8, p. 47b. It also occurs in Nan Hsi-hsiang chi (Li Jih-hua), scene 7, p. 21, l. 7; and Mu-tan t’ing, scene 48, p. 237, l. 13.

  36. This four-character expression occurs in Hsiao Sun-t’u, scene 10, p. 296, l. 6.

  37. This four-character expression occurs in P’o-yao chi, chüan 2, scene 28, p. 40a, ll. 8–9.

  38. This four-character expression occurs in a quatrain by Chang Lei (1054–1114), Ch’üan Sung shih, 20:13245, l. 12; a poem by Sun Ti (1081–1169), ibid., 26:16926, l. 13; a poem by Chou Tzu-chih (12th century), ibid., 26:17366, l. 12; a set of quatrains written in 1194 by Lu Yu (1125–1210), ibid., 40:24879, l. 13; and an anonymous set of songs in Nan-kung tz’u-chi (Anthology of southern-style lyrics), comp. Ch’en So-wen (d. c. 1604), in Nan-pei kung tz’u-chi (Anthology of southern- and northern-style song lyrics), comp. Ch’en So-wen (d. c. 1604); ed. Chao Ching-shen, 4 vols. (Peking: Chung-hua shu-chü, 1959), vol. 2, chüan 4, p. 213, l. 10.