16. This formulaic four-character expression occurs ubiquitously in Chinese literature. See, e.g., a quatrain by the Buddhist monk Ch’i-chi (864–c. 937), Ch’üan T’ang shih, vol. 12, chüan 846, p. 9580, l. 11; an anecdote in T’ang chih-yen, chüan 15, p. 165, l. 13; Yüan-ch’ü hsüan, 2:667, l. 3; T’ien-pao i-shih chu-kung-tiao, p. 219, l. 10; Ching-ch’ai chi, scene 6, p. 14, l. 12; Sha-kou chi, scene 10, p. 32, l. 6; Shih-wu kuan hsi-yen ch’eng ch’iao-huo, p. 694, l. 1; Shen-hsiang ch’üan-pien, chüan 631, p. 55a, l. 6; Shui-hu ch’üan-chuan, vol. 1, ch. 21, p. 306, l. 6; Yüeh-ming Ho-shang tu Liu Ts’ui, p. 434, l. 13; San Sui p’ing-yao chuan, chüan 3, ch. 12, p. 27a, l. 6; Ko tai hsiao, scene 3, p. 141, l. 10; [Hsin-k’o] Shih-shang hua-yen ch’ü-lo t’an-hsiao chiu-ling, chüan 1, p. 18b, upper register, l. 3; and an abundance of other occurrences, too numerous to list.
17. This formulaic four-character expression occurs ubiquitously in Chinese literature. See, e.g., San-kuo chih (History of the Three Kingdoms), comp. Ch’en Shou (233–97), 5 vols. (Peking: Chung-hua shu-chü, 1973), vol. 2, chüan 17, p. 524, l. 9; Han P’eng fu (Rhapsody on Han P’eng), in Tun-huang pien-wen chi, 1:140, l. 2; Sou-shen chi (In search of the supernatural), comp. Kou Tao-hsing (10th century), in Tun-huang pien-wen chi, 2:881, l. 14; a poem by P’eng Ju-li (1042–95), Ch’üan Sung shih, 16:10540, l. 3; a lyric by Kao Shih-t’an (d. 1146), Ch’üan Chin Yüan tz’u, 1:3, lower register, l. 12; a lyric by Chang Yen (1248–1322), Ch’üan Sung tz’u, 5:3466, lower register, l. 8; a song suite by Chao Ming-tao (14th century), Ch’üan Yüan san-ch’ü, 1:336, l. 1; a song suite by Chu T’ing-yü (14th century), ibid., 2:1210, l. 5; the collection of literary tales Hsiao-p’in chi (Emulative frowns collection), by Chao Pi, author’s postface dated 1428 (Shanghai: Ku-tien wen-hsüeh ch’u-pan she, 1957), p. 90, l. 11; Nan Hsi-hsiang chi (Li Jih-hua), scene 21, p. 59, l. 4; Lien-huan chi, scene 18, p. 43, l. 1; a lyric by Yang Shen (1488–1559), Ch’üan Ming tz’u, 2:782, lower register, l. 8; a lyric by Ch’en Ju-lun (cs 1532), ibid., 2:935, lower register, ll. 11–12; Yü-chüeh chi, scene 36, p. 112, l. 10; Ts’an-T’ang Wu-tai shih yen-i chuan, ch. 46, p. 183, l. 6; and an abundance of other occurrences, too numerous to list.
18. This proverbial couplet occurs in Shih-wu kuan hsi-yen ch’eng ch’iao-huo, p. 693, l. 15.
19. On the various legends regarding this figure, see Chung-kuo min-chien chu-shen (The gods of Chinese folklore), comp. Tsung Li and Liu Ch’ün (Shih-chia chuang: Ho-pei jen-min ch’u-pan she, 1987), pp. 353–56; and E.T.C. Werner, A Dictionary of Chinese Mythology (New York: The Julian Press, 1961), pp. 590–91.
20. This four-character expression occurs in a memorial to the throne submitted in 715 by Wang Chün (d. 732), Chiu T’ang shu, vol. 9, chüan 93, p. 2987, l. 6; the prose preface to a poem by Li Kuang (1078–1159), Ch’üan Sung shih, 25:16437, l. 11; San-kuo chih p’ing-hua, p. 117, l. 14; San-kuo chih t’ung-su yen-i, vol. 1, chüan 11, p. 500, ll. 7–8; Shui-hu ch’üan-chuan, vol. 2, ch. 36, p. 565, l. 3; Ts’an-T’ang Wu-tai shih yen-i chuan, ch. 31, p. 125, l. 7; and Sui-T’ang liang-ch’ao shih-chuan, chüan 1, ch. 6, p. 34a, l. 6.
21. This line occurs verbatim three times in Shui-hu ch’üan-chuan, vol. 1, ch. 3, p. 45, l. 10; ch. 5, p. 81, l. 9; and vol. 4, ch. 90, p. 1471, l. 17.
22. This four-character expression occurs ubiquitously in Chinese literature. See, e.g., a poem written in 995 by Chang Yung (946–1015), Ch’üan Sung shih, 1:531, l. 15; a lyric by Chu Shu-chen (fl. 1078–1138), Ch’üan Sung tz’u, 2:1405, lower register, l. 13; a lyric by Ch’iu Yüan (1247–1326), ibid., 5:3405, lower register, l. 1; a song suite by Wang Po-ch’eng (late 13th century), Ch’üan Yüan san-ch’ü, 1:330, l. 7; a song by Chang K’o-chiu (1270–1348), ibid., 1:805, l. 5; Yüan-ch’ü hsüan, 3:1008, l. 1; Hsi-hu san-t’a chi, p. 24, l. 16; Ch’ien-t’ang meng, p. 2a, l. 11; an anonymous song suite in Sheng-shih hsin-sheng, p. 433, l. 3; Wang Wen-hsiu Wei-t’ang ch’i-yü chi, scene 2, p. 4a, l. 7; Nan Hsi-hsiang chi (Li Jih-hua), scene 4, p. 9, l. 6; Shang Lu san-yüan chi, chüan 2, scene 33, p. 21b, l. 6; and a host of other occurrences, too numerous to list.
23. These four lines occur verbatim in Shui-hu ch’üan-chuan, vol. 1, ch. 5, p. 81, l. 8.
24. This line occurs verbatim in ibid., p. 45, l. 9.
25. This line occurs in ibid., vol. 4, ch. 120, p. 1818, l. 4.
26. This four-character expression occurs in ibid., vol. 1, ch. 6, p. 102, l. 2; and vol. 4, ch. 120, p. 1818, ll. 3–4.
27. This formulaic four-character expression occurs ubiquitously in Chinese literature. See, e.g., the biography of Mu-jung Te (336–405), in Chin shu (History of the Chin dynasty [265–420]), comp. Fang Hsüan-ling (578–648) et al., 10 vols. (Peking: Chung-hua shu-chü, 1974), vol. 10, chüan 127, p. 3166, l. 3; a poem by Hsü Chi (1028–1103), Ch’üan Sung shih, 11:7622, l. 3; a memorial to the throne written in 1092 by Su Shih (1037–1101), Su Shih wen-chi (Collected prose of Su Shih), by Su Shih (1037–1101), 6 vols. (Peking: Chung-hua shu-chü, 1986), vol. 3, chüan 34, p. 974, l. 15; a letter by Chu Hsi (1130–1200), Hui-an hsien-sheng Chu Wen-kung wen-chi (The collected literary works of Chu Hsi [1130–1200]), Ssu-pu pei-yao ed. (Shanghai: Chung-hua shu-chü, 1936), chüan 37, p. 3a, l. 9; a commentary on the Vajracchedikā prajñāpāramitā sutra by Yen Ping (d. 1212), as quoted in Chin-kang ching chi-chu, p. 211, column 3; a lyric by Li Tao-ch’un (late 13th century), Ch’üan Chin Yüan tz’u, 2:1236, lower register, l. 13; Lü-weng san-hua Han-tan tien, scene 2, p. 3a, l. 14; an anonymous song in Yüeh-fu ch’ün-chu, chüan 1, p. 25, l. 14; and an abundance of other occurrences, too numerous to list.
28. This four-character expression occurs in Shui-hu ch’üan-chuan, vol. 4, ch. 120, p. 1818, l. 7.
29. This four-character expression occurs in Shen-hsiang ch’üan-pien, chüan 636, p. 42a, l. 4.
30. For a detailed description of this variety of fortune-telling, see Richard J. Smith, Fortune-tellers and Philosophers: Divination in Traditional Chinese Society (Boulder: Westview Press, 1991), pp. 234–35.
31. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g, San-kuo chih p’ing-hua, p. 34, l. 9; Shui-hu ch’üan-chuan, vol. 1, ch. 21, p. 306, l. 12; and vol. 3, ch. 73, p. 1232, l. 7; Lieh-kuo chih-chuan, vol. 2, chüan 5, p. 61b, l. 11; Ch’üan-Han chih-chuan, vol. 2, chüan 2, p. 25a, ll. 4–5; Tung-yu chi: shang-tung pa-hsien chuan, chüan 2, p. 5a, l. 8; and Ts’an-T’ang Wu-tai shih yen-i chuan, ch. 20, p. 73, ll. 10–11.
32. This formulaic four-character expression occurs ubiquitously in Chinese literature. See, e.g., a lyric attributed to T’ao Chih (d. 825), Ch’üan T’ang shih pu-pien, 3:1612, l. 9; a long poem by Emperor T’ai-tsung of the Sung dynasty (r. 976–97), Ch’üan Sung shih, 1:441, l. 16; Chu-tzu yü-lei, vol. 4, chüan 64, p. 18b, l. 2; Tung Chieh-yüan Hsi-hsiang chi, chüan 1, p. 10, l. 8; [Chi-p’ing chiao-chu] Hsi-hsiang chi, play no. 3, scene 2, p. 109, l. 1; a lyric by Li Chen (1376–1452), Ch’üan Ming tz’u, 1:227, lower register, l. 12; Hua-ying chi, p. 898, l. 28; a set of songs by Ch’ang Lun (1493–1526), Ch’üan Ming san-ch’ü, 2:1527, l. 13; Hsi-yu chi, vol. 2, ch. 57. p. 655, l. 7; and Pai-chia kung-an, chüan 1, ch. 5, p. 21b, l. 1.
33. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., Kuan-shih-yin p’u-sa pen-hsing ching, p. 121a, l. 8; a lyric by Wang Che (1112–70), Ch’üan Chin Yüan tz’u, 1:249, lower register, l. 4; a poem by Ma Yü (1123–83), Ch’üan Chin shih, 1:296, l. 8; a poem by Ch’en Nan (d. 1213), Ch’üan Sung shih, 28:18293, l. 5; a lyric by Mo Ch’i-yen (1226–94), Ch’üan Sung tz’u, 5:3142, lower register, l. 6; Yüan-ch’ü hsüan, 1:313, l. 12; Yüan-ch’ü hsüan wai-pien, 2:393, l. 6; a set of songs by Wang Yüan-heng (14th century), Ch’üan Yüan san-ch’ü, 2:1384, l. 14; Lü Tung-pin fei-chien chan Huang-lung, p. 465, l. 13; Chien-teng hsin-hua, chüan 3, p. 71, l. 8; a lyric by Chu Yün-ming (1460–1526), Ch’üan Ming tz’u, 2:419, lower register, l. 11; a set of songs by K’ang Hai (1475–1541), Ch’üan Ming san-ch’ü, 1:1168, l. 5; Ta-Sung ch
ung-hsing yen-i, vol. 2, chüan 8, p. 22a, ll. 4–5; the tsa-chü drama Tung-t’ien hsüan-chi (Mysterious record of the grotto heaven), attributed to Yang Shen (1488–1559), in Ku-pen Yüan Ming tsa-chü, vol. 2, scene 4, p. 16a, l. 1; Hsi-yu chi, vol. 2, ch. 98, p. 1102, l. 1; San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 1, ch. 11, p. 138, l. 11; and an abundance of other occurrences, too numerous to list.
34. This line occurs independently in Pao-chien chi, scene 5, p. 13, l. 25; and Pa-i chi, scene 21, p. 45, l. 3.
35. This is a version, with insignificant textual variation, of the famous anonymous ballad known as “Golden Threads” that was current at least as early as the ninth century. See Roy, The Plum in the Golden Vase, vol. 2, chap. 27, n. 37. The version in the novel occurs verbatim in Pao-chien chi, scene 30, p. 56, ll. 18–19, which is probably the proximate source. The last line also occurs independently in a lyric by Ou-yang Hsiu (1007–72), Ch’üan Sung tz’u, 1:124, upper register, l. 8; and a lyric by Huang T’ing-chien (1045–1105), ibid., 1:396, lower register, ll. 1–2.
36. This four-character expression occurs in Yüan-ch’ü hsüan wai-pien, 3:822, l. 2; and Shui-hu ch’üan-chuan, vol. 3, ch. 59, p. 988, l. 17.
37. This four-character expression occurs in a poem by Hsü Chi (1028–1103), Ch’üan Sung shih, 11:7594, l. 1; Hsiao-p’in chi, p. 22, l. 2; a literary tale in Yüan-chu chih-yü: hsüeh-ch’uang t’an-i (Supplementary guide to Mandarin Duck Island: Tales of the unusual from the snowy window) (Peking: Chung-hua shu-chü, 1997), chüan 1, p. 41, l. 1; and San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 1, ch. 47, p. 604, l. 2.
38. This four-character expression occurs in a quatrain by the Buddhist monk Tao-ning (1053–1113), Ch’üan Sung shih, 19:12906, l. 15.
39. This four-character expression occurs independently in an anonymous song suite in Yung-hsi yüeh-fu, ts’e 10, p. 56a, l. 1.
40. This four-character expression occurs in conjunction with the one two lines above it in a song by Lu Chih (cs 1268), Ch’üan Yüan san-ch’ü, 1:114, l. 5; a song by Pai P’u (1226–c. 1306), ibid., 1:200, l. 7; a set of songs by Li Ch’i (1269–1328), ibid., 2:1291, l. 4; an anonymous song suite in Yung-hsi yüeh-fu, ts’e 2, p. 9a, ll. 6–7; and Hai-fu shan-t’ang tz’u-kao, chüan 1, p. 26, l. 10. It occurs independently in a poem by Li Chieh (9th century), Ch’üan T’ang shih pu-pien, 2:1123, l. 7; a lyric by Ch’ang-ch’üan-tzu (13th century), Ch’üan Chin Yüan tz’u, 1:594, upper register, l. 12; a song by Sun Chou-ch’ing (14th century), ibid., 2:1062, l. 10; an anonymous Yüan dynasty song, ibid., 2:1733, l. 10; Yüan-ch’ü hsüan wai-pien, 2:454, l. 11; Yin-chih chi-shan, p. 115, l. 13; a lyric written in 1497 by Ku Hsün (1418–1505), Ch’üan Ming tz’u, 1:291, upper register, l. 10; a lyric by Wu Yen (1457–1519), Ch’üan Ming tz’u pu-pien, 1:136, lower register, l. 3; a song suite by Ch’en To (fl. early 16th century), Ch’üan Ming san-ch’ü, 1:593, l. 10; Shui-hu ch’üan-chuan, vol. 2, ch. 38, p. 603, l. 10; San Sui p’ing-yao chuan, chüan 1, ch. 1, p. 6b, l. 8; a set of songs by Hsia Yang (16th century), Ch’üan Ming san-ch’ü, 1:807, l. 13; a song suite by Lo Ch’in-shun (1465–1547), ibid., 1:825, l. 6; an anonymous song suite in Yung-hsi yüeh-fu, ts’e 9, p. 21a, l. 5; an anonymous set of songs in ibid., ts’e 19, p. 24a, l. 4; a lyric by Han Pang-ch’i (1479–1556), Ch’üan Ming tz’u, 2:624, upper register, l. 3; a song suite by Chou Lü-ching (1549–1640), Ch’üan Ming san-ch’ü, 3:3131, l. 9; and a host of other occurrences, too numerous to list.
41. This entire set piece of descriptive parallel prose is taken, with a few insignificant textual variants, from Shui-hu ch’üan-chuan, vol. 2, ch. 39, p. 618, l. 16–p. 619, l. 1.
42. This formulaic four-character expression occurs ubiquitously in Chinese literature. See, e.g., a poem by Li Tuan (cs 770), Ch’üan T’ang shih, vol. 5, chüan 284, p. 3240, l. 7; Chang Hsieh chuang-yüan, scene 1, p. 2, l. 8; the early vernacular story Chien-t’ieh ho-shang (The Monk’s billet-doux), in Ch’ing-p’ing shan-t’ang hua-pen, p. 14, l. 1; Yang Ssu-wen Yen-shan feng ku-jen, p. 372, l. 13; Chi Ya-fan chin-man ch’an-huo, p. 281, l. 6; Wan Hsiu-niang ch’ou-pao shan-t’ing-erh, p. 562, l. 12; the early vernacular story San hsien-shen Pao Lung-t’u tuan-yüan (After three ghostly manifestations Academician Pao rights an injustice), in Ching-shih t’ung-yen, chüan 13, p. 173, l. 6; Hsiao fu-jen chin-ch’ien tseng nien-shao, p. 224, l. 14; Chin-ming ch’ih Wu Ch’ing feng Ai-ai, p. 463, l. 7; and San Sui p’ing-yao chuan, chüan 1, ch. 4, p. 35a, l. 9. It also recurs in the Chin P’ing Mei tz’u-hua, vol. 5, ch. 94, p. 12a, ll. 7–8; and ch. 99, p. 9b, ll. 10–11.
43. This couplet, with one insignificant variant, occurs in Chi Ya-fan chin-man ch’an-huo, p. 283, l. 12.
44. This four-character expression occurs in Wang Chao-chün ch’u-sai ho-jung chi, chüan 2, scene 28, p. 20b, ll. 7–8.
45. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., Kuan-shih-yin p’u-sa pen-hsing ching, p. 68b, l. 2; Wu-wang fa Chou p’ing-hua, p. 40, l. 9; Ch’ien-Han shu p’ing-hua, p. 21, l. 12; Yüan-ch’ü hsüan, 4:1652, ll. 5–6; Yu-kuei chi, scene 26, p. 79, l. 2; Yüeh Fei p’o-lu tung-ch’uang chi, chüan 1, scene 6, p. 9a, ll. 7–8; Shui-hu ch’üan-chuan, vol. 2, ch. 54, p. 904, l. 13; San Sui p’ing-yao chuan, chüan 4, ch. 17, p. 15b, l. 1; Lieh-kuo chih-chuan, vol. 2, chüan 5, p. 68a, l. 12; Hsi-yu chi, vol. 1, ch. 35, p. 403, ll. 10–11; [Hsiao-shih] Chen-k’ung sao-hsin pao-chüan, 19:81, l. 4; Ch’üan-Han chih-chuan, vol. 2, chüan 1, p. 8a, ll. 2–3; San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 1, ch. 12, p. 149, l. 15; Yang-chia fu shih-tai chung-yung yen-i chih-chuan, vol. 2, chüan 5, p. 28a, l. 1; Ta-T’ang Ch’in-wang tz’u-hua, vol. 1, chüan 2, ch. 11, p. 23b, l. 4; Sui-T’ang liang-ch’ao shih-chuan, chüan 5, ch. 43, p. 20b, l. 7; and a host of other occurrences, too numerous to list.
46. A version of this anonymous song, with some textual variation, occurs in Yüeh-fu ch’ün-chu, chüan 4, p. 281, ll. 8–9. It occurs in the same form as in the novel in Yung-hsi yüeh-fu, ts’e 18, p. 49b, ll. 1–3.
47. This four-character expression occurs in Pai-chia kung-an, chüan 10, ch. 93, p.10b, l. 1.
Chapter 94
1. This poem has already occurred in the Chin P’ing Mei tz’u-hua, vol. 1, ch. 19, p. 1a, ll. 3–6. See Roy, The Plum in the Golden Vase, vol. 1, chap. 19, p. 376, ll. 6–21, and n. 1.
2. A synonymous variant of this four-character expression occurs in Chuang-tzu yin-te (A concordance to Chuang-tzu) (Cambridge: Harvard University Press, 1956), ch. 29, p. 81, l. 18; Chin shu, vol. 4, chüan 43, p. 1243, l. 2; a legal judgment in Ming-kung shu-p’an ch’ing-ming chi (A collection of enlightened judgments by famous gentlemen), pref. dated 1261, 2 vols. (Peking: Chung-hua shu-chü, 1987), vol. 2, chüan 14, p. 530, l. 2; Hsiang-nang chi, scene 26, p. 74, l. 9; Ch’üan-Han chih-chuan, vol. 2, chüan 1, p. 1b, l. 13; and Tung-yu chi: shang-tung pa-hsien chuan, chüan 2, p. 46b, l. 9. It occurs in the same form as in the novel in Yüan-ch’ü hsüan, 2:554, l. 2; Yüan-ch’ü hsüan wai-pien, 1:173, l. 21; Yu-kuei chi, scene 28, p. 88, l. 4; Han Yüan-shuai an-tu Ch’en-ts’ang, scene 1, p. 3b, l. 4; Shui-hu ch’üan-chuan, vol. 4, ch. 86, p. 1416, l. 13; an anonymous song suite in Yung-hsi yüeh-fu, ts’e 6, p. 64b, l. 7; Lieh-kuo chih-chuan, vol. 1, chüan 2, p. 56a, l. 13; and a host of other occurrences, too numerous to list.
3. This couplet, with one insignificant variant, recurs in the Chin P’ing Mei tz’u-hua, vol. 5, ch. 99, p. 4a, ll. 8–9.
4. See Roy, The Plum in the Golden Vase, vol. 2, chap. 35, n. 17.
5. This idiomatic expression occurs in Shui-hu ch’üan-chuan, vol. 1, ch. 26, p. 417, l. 17
6. This four-character expression occurs in Pai-yüeh t’ing chi, chüan 2, scene 43, p. 41a, l. 3; and Shui-hu ch’üan-chuan, vol. 3, ch. 72, p. 1215, l. 17.
7. Emperor T’ai-tsung of the Sung dynasty (r. 976–97) is said to have decreed that admonitory stone tablets should be erected in every local bureaucratic office inscribed with four hortatory lines that read: “The salary you receive, is derive
d from the people; they are easy to abuse, but Heaven cannot be deceived.” These four lines are taken verbatim from a longer hortatory inscription by Meng Ch’ang (919–65), the last emperor of the Later Shu dynasty (r. 934–65). See Ch’üan T’ang wen, vol. 3, chüan 129, p. 23a, l. 9; and p. 23b, l. 1.
8. This set piece of descriptive parallel prose is condensed, with considerable textual variation, from one in Shui-hu ch’üan-chuan, vol. 1, ch. 8, p. 123, l. 10–p. 124, l. 1.
9. This couplet is a variation on one in a poem by Nieh I-chung (cs 871), Ch’üan T’ang shih, vol. 10, chüan 636, p. 7296, l. 10. The original couplet also occurs in Yüan-ch’ü hsüan, 1:36, ll. 1–2; [Hsin-pien] Wu-tai shih p’ing-hua, p. 96, l. 3; and Hsün-ch’in chi, scene 6, p. 16, ll. 5–6.
10. This couplet has already occurred in the novel. See, Roy, The Plum in the Golden Vase, vol. 4, chap. 77, p. 574, ll. 12–15, and nn. 57–58.
11. This formulaic four-character expression occurs ubiquitously in Chinese literature. See, e.g., a speech attributed to the Buddhist monk Kuei-hsi (11th century), Wu-teng hui-yüan, vol. 3, chüan 14, p. 879, l. 8; a set of poems by Shao Yung (1011–77), Ch’üan Sung shih, 7:4676, l. 9; Hsüan-ho i-shih, p. 5, l. 4; [Hsin-pien] Wu-tai shih p’ing-hua, p. 163, l. 6; San-kuo chih p’ing-hua, p. 28, l. 1; Chao-shih ku-erh chi, chüan 2, scene 28, p. 7b, ll. 5–6; Cheng Chieh-shih li-kung shen-pi kung, p. 667, l. 14; Fo-yin shih ssu-t’iao Ch’in-niang, p. 237, l. 13; K’an p’i-hsüeh tan-cheng Erh-lang Shen, p. 243, l. 10; Shih-wu kuan hsi-yen ch’eng ch’iao-huo, p. 699, l. 8; Shui-hu ch’üan-chuan, vol. 1, ch. 2, p. 16, l. 8; Hsin-ch’iao shih Han Wu mai ch’un-ch’ing, p. 63, l. 6; Lieh-kuo chih-chuan, vol. 2, chüan 5, p. 56b, l. 4; Pao-chien chi, scene 30, p. 56, l. 25; Hsi-yu chi, vol. 1, ch. 18, p. 205, l. 17; Ch’üan-Han chih-chuan, vol. 2, chüan 2, p. 19b, l. 11; Pai-chia kung-an, chüan 4, ch. 32, p. 4a, ll. 10–11; San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 1, ch. 7, p. 89, l. 2; and an abundance of other occurrences, too numerous to list.
The Plum in the Golden Vase or, Chin P'ing Mei Page 72
