12. This four-character expression occurs in Ts’ao Po-ming ts’o-k’an tsang chi, p. 209, l. 11.
13. This four-character expression occurs in Wu Lun-ch’üan Pei, chüan 3, scene 17, p. 8b, l. 8.
14. This four-character expression recurs in the Chin P’ing Mei tz’u-hua, vol. 5, ch. 99, p. 9a, l. 10.
15. This four-character expression occurs in Chien-teng hsin-hua, chüan 3, p. 75, l. 11; Yü-huan chi, scene 5, p. 11, l. 1; Hsiu-ju chi, scene 24, p. 67, l. 12; and Liu sheng mi Lien chi, chüan 3, p. 36b, l. 11.
16. This couplet, with a variant in the last line, has already occurred twice in the novel. See Roy, The Plum in the Golden Vase, vol. 1, chap. 8, p. 169, ll. 13–16, and n. 45; and vol. 4, chap. 65, p. 151, ll. 36–39.
17. This formulaic four-character expression occurs ubiquitously in Chinese literature. See, e.g., a quatrain by Tu Mu (803–52), Ch’üan T’ang shih, vol. 8, chüan 523, p. 5979, l. 6; a set of poems by Wang An-shih (1021–86), Ch’üan Sung shih, 10:6752, l. 11; a quatrain by Kuo Hsiang-cheng (1035–1113), ibid., 13:8991, l. 1; a poem by Hua Chen (b. 1051, cs 1079), ibid., 18:12344, l. 13; a lyric by Ho Chu (1052–1125), Ch’üan Sung tz’u, 1:505, upper register, l. 1; a poem by Li Kang (1083–1140), Ch’üan Sung shih, 27:17620, l. 6; a quatrain by Hu Yin (1098–1156), ibid., 33:20956, l. 5; a lyric by Wang T’ing-yün (1151–1202), Ch’üan Chin Yüan tz’u, 1:43, upper register, l. 16; a lyric written in 1186 by Chiang K’uei (1155–1221), Ch’üan Sung tz’u, 3:2176, lower register, l. 18; a lyric by Yüan Hao-wen (1190–1257), Ch’üan Chin Yüan tz’u, 1:90, upper register, l. 11; a lyric by Chang K’o-chiu (1270–1348), ibid., 2:929, lower register, l. 2; a lyric by Fei Ts’ai (1483–1549), Ch’üan Ming tz’u pu-pien, 1:247, lower register, l. 15; a lyric by Yang Shen (1488–1559), Ch’üan Ming tz’u, 2:820, lower register, l. 9; a song suite in Hai-fu shan-t’ang tz’u-kao, chüan 1, p. 38, l. 6; and an abundance of other occurrences, too numerous to list.
18. This line is taken verbatim from the first line in a quatrain by Ch’eng Hao (1032–85), Ch’üan Sung shih, 12:8236, l. 5.
19. This quatrain, with a few insignificant variants, is taken from one in Hsiu-ju chi, scene 19, p. 54, ll. 6–7.
20. This anonymous song is preserved in Tz’u-lin chai-yen, 1:35–36; and Chiu-pien nan chiu-kung p’u (Formulary for the old repertory of the nine southern musical modes), comp. Chiang Hsiao (16th century), pref. dated 1549, fac. repr. in Shan-pen hsi-ch’ü ts’ung-k’an (Collectanea of rare editions of works on dramatic prosody) (Taipei: Hsüeh-sheng shu-chü, 1984–87), vol. 26, p. 217, ll. 8–11.
21. This couplet has already occurred in the novel. See Roy, The Plum in the Golden Vase, vol. 1, chap. 18, p. 363, ll. 5–8, and n. 16.
Chapter 95
1. These eight lines of admonition, with a few textual variations, are taken from a set of poems in imitation of the legendary T’ang dynasty poet Han-shan (8th century) by the Buddhist monk Huai-shen (1077–1132), Ch’üan Sung shih, 24:16109, ll. 12–13. They are also included without attribution in Ming-hsin pao-chien, chüan 2, p. 2b, ll. 12–13.
2. Variants of this proverbial saying occur in a statement attributed to the Buddhist Ch’an Master Chien (10th century), Wu-teng hui-yüan, vol. 3, chüan 15, p. 960, l. 5; a poem by the Buddhist monk Wen-chun (1061–1115), Ch’üan Sung shih, 21:14269, l. 6; Hsiao Sun-t’u, scene 9, p. 288, l. 10; Yüan-ch’ü hsüan, 1:338, l. 13; the anonymous early Ming tsa-chü drama Lung-men yin-hsiu (The beauty concealed at Lung-men), in Ku-pen Yüan Ming tsa-chü, vol. 3, scene 1, p. 2b, ll. 13–14; Chiang Shih yüeh-li chi, chüan 1, scene 10, p. 16a, l. 10; and Hsi-yu chi, vol. 2, ch. 69, p. 791, l. 2. It occurs in the same form as in the novel in a poem by the Buddhist monk Tsung-kao (1089–1163), Ch’üan Sung shih, 30:19412, l. 16; Yüan-ch’ü hsüan, 1:164, ll. 17–18; the early vernacular story Feng-yüeh Jui-hsien T’ing (The romance in the Jui-hsien Pavilion), in Ch’ing-p’ing shan-t’ang hua-pen, p. 42, l. 12; Yü Chung-chü t’i-shih yü shang-huang, p. 65, l. 13; Shih-i chi, chüan 2, scene 26, p. 23b, ll. 9–10; Pa-i chi, scene 8, p. 16, l. 4; and Ta-T’ang Ch’in-wang tz’u-hua, vol. 2, chüan 8, ch. 59, p. 29b, l. 3.
3. This couplet is quoted as proverbial by Chu Hsi (1130–1200) in his commentary on the Ta-hsüeh (The great learning). See Ssu-shu chang-chü chi-chu (Collected commentary on the paragraphed and punctuated text of the Four books), by Chu Hsi (Peking: Chung-hua shu-chü, 1983), p. 8, l. 15. The first line also occurs independently in Huai-hsiang chi, scene 28, p. 90, l. 10; and a variant of the second line occurs independently in Lieh-kuo chih-chuan, vol. 3, chüan 7, p. 37a, l. 4.
4. A variant of this couplet occurs in Hsüeh Jen-kuei cheng-Liao shih-lüeh, p. 30, l. 3.
5. This quatrain, with two insignificant variants, has already occurred in the Chin P’ing Mei tz’u-hua, vol. 3, ch. 48, p. 15b, ll. 6–7. See Roy, The Plum in the Golden Vase, vol. 3, chap. 48, p. 170, ll. 1–8.
Chapter 96
1. This four-character expression occurs in Shui-hu ch’üan-chuan, vol. 3, ch. 61, p. 1023, l. 9; Hung-fu chi, scene 20, p. 43, l. 9; Ch’üan-Han chih-chuan, vol. 3, chüan 1, p. 25a, l. 8; I-hsia chi, scene 20, p. 53, l. 8; and Sui-T’ang liang-ch’ao shih-chuan, chüan 3, ch. 25, p. 26a, ll. 8–9.
2. The proximate source of this set piece of descriptive parallel prose, with considerable textual variation, is a passage in Shui-hu ch’üan-chuan, vol. 2, ch. 42, ll. 1–3.
3. This four-character expression occurs in the ch’uan-ch’i drama Chieh-hsia chi (The steadfast knight errant), by Hsü San-chieh (fl. late 16th century), Liu-shih chung ch’ü ed., scene 31, p. 79, l. 9.
4. This four-character expression occurs in an anonymous song suite in Sheng-shih hsin-sheng, p. 285, ll. 11–12; and a song suite by Wu Kuo-pao (cs 1550), Ch’üan Ming san-ch’ü, 2:2284, l. 12.
5. This four-character expression occurs in an anonymous set of songs in Feng-yüeh chin-nang [chien-chiao], p. 118, l. 7; and an anonymous song suite in Yung-hsi yüeh-fu, ts’e 16, p. 30b, l. 7.
6. This four-character expression occurs in Hsin-ch’iao shih Han Wu mai ch’un-ch’ing, p. 65, l. 10.
7. This four-character expression occurs in Kuan-tzu chiao-cheng (The Kuan-tzu collated and corrected), ed. and annot. Tai Wang (1837–73), in Chu-tzu chi-ch’eng, chüan 11, ch. 31, p. 174, l. 7; Han-shu (History of the Former Han dynasty), comp. Pan Ku (32–92), 8 vols. (Peking: Chung-hua shu-chü, 1962), vol. 3, chüan 24, p. 1121, l. 14; a preface by Han Yü (768–824), Han Ch’ang-li wen-chi chiao-chu, chüan 4, p. 145, l. 11; a poem by Fu Pi (1004–83), Ch’üan Sung shih, 5:3367, l. 3; and the prose preface to a set of five poems by Ssu-ma Kuang (1019–86), ibid., 9:6088, l. 1.
8. This four-character expression occurs in a song by Ch’en To (fl. early 16th century), Ch’üan Ming san-ch’ü, 1:538, l. 8.
9. The last character of Ch’en Ching-chi’s given name puns with the word chi that means “squeeze,” so that the two characters would then mean “to undergo squeezing.”
10. See Roy, The Plum in the Golden Vase, vol. 2, chap. 29, n. 21.
11. These four lines, with insignificant textual variation, occur in Shen-hsiang ch’üan-pien, chüan 637, p. 7b, ll. 6–8.
12. These four lines occur twice in ibid., chüan 631, p. 44b, ll. 1–2; and chüan 637, p. 9b, ll. 7–8.
13. These four lines, with some textual variation, occur in ibid., chüan 637, p. 9a, ll. 2–3.
14. These four lines, with some textual variation, occur in ibid., chüan 636, p. 16a, l. 7. The four-character expression in the last line also occurs independently in Yüan-ch’ü hsüan, 1:38, ll. 14–15; Yüan-ch’ü hsüan wai-pien, 2:409, l. 17; and Shen-hsiang ch’üan-pien, chüan 631, p. 52b, l. 6.
15. This four-character expression occurs in ibid., chüan 636, p. 16a, l. 2; p. 23b, l. 7; and chüan 637, p. 2b, l. 3.
16. These two lines, with some synonymous variation in the second line, occur in ibid., chüan 636, p. 41b, l. 3.
17. These two lines, with an insignificant variant in the second line, occur in ibid.,
chüan 637, p. 7a, ll. 1–2.
18. This line occurs in ibid., p. 7b, l. 1.
19. This four-character expression occurs in ibid., chüan 634, p. 25a, l. 6; chüan 637, p. 7b, l. 1; and chüan 644, p. 31b, l. 4.
20. These two lines occur in ibid., chüan 637, p. 7b, ll. 1–2.
21. These two lines occur in ibid., chüan 636, p. 24a, l. 6.
22. These two lines occur in ibid., p. 15b, l. 5.
23. This line occurs together with the preceding indented line in ibid., p. 51b, l. 7.
24. This couplet, with a textual variant in the second line, is from a quatrain attributed to the wife of Tu Kao (fl. late 8th century), Ch’üan T’ang shih, vol. 11, chüan 799, p. 8988, l. 11. It is also quoted in Chien-t’ieh ho-shang, p. 7, l. 7; and Tzu-ch’ai chi, scene 20, p. 77, l. 3.
25. This quatrain, with some insignificant textual variation, occurs in Chao Po-sheng ch’a-ssu yü Jen-tsung, p. 171, l. 8.
Chapter 97
1. This poem, with some textual variation, has already appeared in the novel. See Chin P’ing Mei tz’u-hua, vol. 1, ch. 20, p. 1a, ll. 3–6; and Roy, The Plum in the Golden Vase, vol. 1, chap. 20, p. 401, ll. 6–21, and n. 1.
2. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., Fo-yin shih ssu-t’iao Ch’in-niang, p. 238, l. 8; Huang-chi chin-tan chiu-lien cheng-hsin kuei-chen huan-hsiang pao-chüan, 8:34, l. 2; T’an-shih wu-wei pao-chüan, 1:377, l. 3; Shui-hu ch’üan-chuan, vol. 1, ch. 24, p. 365, l. 14; the middle-period vernacular story Chang Tzu-fang mu-tao chi (The story of Chang Liang’s pursuit of the Way), in Ch’ing-p’ing shan-t’ang hua-pen, p. 110, l. 15; Hsi-yu chi, vol. 1, ch. 16. p. 181, l. 13; and Ch’üan-Han chih-chuan, vol. 3, chüan 2, p. 3a, ll. 11–12. It also recurs in the Chin P’ing Mei tz’u-hua, vol. 5, ch. 99, p. 12a, l. 8.
3. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., Hsiang-nang chi, scene 39, p. 118, l. 8; Shui-hu ch’üan-chuan, vol. 1, ch. 3, p. 48, l. 16; Lien-huan chi, scene 20, p. 51, l. 6; Hsin-ch’iao shih Han Wu mai ch’un-ch’ing, p. 64, l. 9; Ta-Sung chung-hsing yen-i, vol. 1, chüan 2, p. 48a, l. 6; Nan Sung chih-chuan, vol. 1, chüan 4, p. 12a, l. 11; Pei Sung chih-chuan, vol. 2, chüan 2, p. 3b, l. 8; Huan-sha chi, scene 16, p. 52, l. 11; Ssu-hsi chi, scene 10, p. 25, l. 7; Hsi-yu chi, vol. 1, ch. 2, p. 19, l. 9; Mu-lien chiu-mu ch’üan-shan hsi-wen, chüan 1, p. 6b, l. 1; Huang-Ming k’ai-yün ying-wu chuan, vol. 1, chüan 3, p. 13b, l. 13; San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 1, ch. 21, p. 270, l. 8; Sui-T’ang liang-ch’ao shih-chuan, chüan 9, ch. 86, p. 33a, l. 4; and an abundance of other occurrences, too numerous to list.
4. This four-character expression occurs in Ching-ch’ai chi, scene 15, p. 47, l. 1; Yu-kuei chi, scene 40, p. 116, l. 1; Chien-teng hsin-hua, chüan 4, p. 104, l. 10; a song suite by Ch’en So-wen (d. c. 1604), Ch’üan Ming san-ch’ü, 2:2554, l. 12; and Ta-T’ang Ch’in-wang tz’u-hua, vol. 2, chüan 6, ch. 48, p. 71a, l. 7.
5. This formulaic line occurs ubiquitously in Chinese vernacular literature. See, e.g., Lü Meng-cheng ch’üan-shih wen (Lü Meng-cheng’s words of admonition to the world), attributed to Lü Meng-cheng (946–1011), in Chiao-yang ts’ung-shu (Collectanea of educational literature), comp. Feng Tso-min (Taipei: Wei-cheng shu-chü, 1987), p. 115, l. 4; Yüan-ch’ü hsüan, 1:137, l. 12; Chao-shih ku-erh chi, chüan 1, scene 22, p. 43a, l. 7; Sha-kou chi, scene 6, p.15, l. 4; Ching-ch’ai chi, scene 13, p. 38, l. 10; Chin-yin chi, chüan 2, scene 16, p. 17b, l. 7; Ch’ien-chin chi, scene 20, p. 64, l. 10; Huai-hsiang chi, scene 31, p. 105, l. 2; Shang Lu san-yüan chi, chüan 2, scene 23, p. 4a, l. 9; Ch’en Hsün-chien Mei-ling shih-ch’i chi, p. 122, l. 16; Hsün-ch’in chi, scene 22, p. 74, l. 1; Yü-chüeh chi, scene 3, p. 5, l. 5; and an abundance of other occurrences, too numerous to list. It also recurs in the Chin P’ing Mei tz’u-hua, vol. 5, ch. 98, p. 3a, l. 7.
6. This four-character expression occurs in a lyric by Chang Hsien (990–1078), Ch’üan Sung tz’u, 1:59, upper register, ll. 6–7; a quatrain by Ts’ao Hsün (c. 1098–1174), Ch’üan Sung shih, 33:21197, l. 11; and a lyric by Hsia Yang (16th century), Ch’üan Ming tz’u, 2:439, upper register, l. 5.
7. This four-character expression occurs in Huang-Ming k’ai-yün ying-wu chuan, chüan 2, p. 13b, l. 5; and Sui-T’ang liang-ch’ao shih-chuan, chüan 4, ch. 36, p. 35a, ll. 8–9.
8. This line has already occurred in the novel. See above, chap. 89, n. 8.
9. On this festival specialty, see Roy, The Plum in the Golden Vase, vol. 1, chap. 16, n. 15.
10. This set piece of descriptive parallel prose, with extensive textual variation, has already occurred in the novel. See Chin P’ing Mei tz’u-hua, vol. 2, ch. 30, p. 6b, ll. 1–5; and Roy, The Plum in the Golden Vase, vol. 2, chap. 30, p. 204, ll. 4–31, and nn. 33–34.
11. This four-character expression occurs in Shui-hu ch’üan-chuan, vol. 1, ch. 23, p. 344, l. 4.
12. This couplet has already occurred in the novel. See Roy, The Plum in the Golden Vase, vol. 2, chap. 26, p. 109, ll. 14–17, and nn. 22–23.
13. This line is very similar to one in a quatrain by Li Shang-yin (c. 813–58), Ch’üan T’ang shih, vol. 8, chüan 541, p. 6222, l. 2.
14. This four-character expression occurs in I-chien chih, vol. 1, chia-chih (first collection), chüan 6, p. 52, l. 1.
15. This four-character expression occurs in a song suite that is attributed to Ching Kan-ch’en (c. 1220–81), Ch’üan Yüan san-ch’ü, 1:141, l. 3; and a song suite by Ku Te-jun (14th century), ibid., 2:1074, l. 1.
16. A variant of this couplet has already occurred in the novel. See Roy, The Plum in the Golden Vase, vol. 4, chap. 68, p. 243, ll. 19–22, and n. 75.
17. This quatrain is traditionally attributed to Wang Chu (cs 1100), Ch’üan Sung shih, 22:14978, l. 10. The first two lines have already occurred in the novel. See Roy, The Plum in the Golden Vase, vol. 3, chap. 55, p. 362, ll. 38–39, and n. 50. The last two lines occur together in Chang Hsieh chuang-yüan, scene 27, p. 136, l. 8; P’i-p’a chi, scene 18, p. 111, l. 5; Pai-yüeh t’ing chi, chüan 2, scene 43, p. 41a, l. 2; Hei Hsüan-feng chang-i shu-ts’ai, scene 3, p. 105, l. 11; P’u-tung Ts’ui Chang chu-yü shih-chi (Collection of poetic gems about [the affair of] Ts’ui [Ying-ying] and Chang [Chün-jui] in P’u-tung), included as part of the front matter in the 1498 edition of Hsi-hsiang chi, p. 21a, l. 9; Shang Lu san-yüan chi, chüan 1, scene 8, p. 10b, l. 9; San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 1, ch. 46, p. 597, l. 3; and [Hsin-k’o] Shih-shang hua-yen ch’ü-lo t’an-hsiao chiu-ling, chüan 1, p. 11b, lower register, ll. 10–11. The third line occurs independently in Yüan-ch’ü hsüan, 4:1541, l. 15; Yüan-ch’ü hsüan wai-pien, 1:38, l. 6; Chien-teng yü-hua, chüan 5, p. 285, l. 2; a song suite by Chu Ying-ch’en (16th century), Ch’üan Ming san-ch’ü, 2:1276, l. 8; Pao-chien chi, scene 44, p. 80, l. 4; Yü-ching t’ai, scene 8, p. 18, l. 1; and Ta-T’ang Ch’in-wang tz’u-hua, vol. 1, chüan 2, ch. 9, p. 12a, ll. 4–5. The last line also occurs independently in Yüan-ch’ü hsüan wai-pien, 1:200, l. 2; P’o-yao chi, chüan 1, scene 8, p. 24a, l. 4; and I-hsia chi, scene 36, p. 98, l. 10.
18. This quatrain has already occurred in the novel. See Roy, The Plum in the Golden Vase, vol. 1, chap. 7, p. 146, ll. 6–13.
19. This quatrain has already occurred twice in the novel. See ibid., vol. 2, chap. 27, p. 149, ll. 30–33; and vol. 3, chap. 58, p. 436, ll. 21–24.
Chapter 98
1. The first four lines of this homiletic verse, with some textual variation, are included without attribution in Ming-hsin pao-chien, chüan 1, p. 11b, ll. 4–5.
2. The proximate source of the first six lines of this verse is Shui-hu ch’üan-chuan, vol. 2, ch. 38, p. 597, ll. 3–4.
3. This four-character expression occurs in Yüan-ch’ü hsüan, 2:646, l. 8; and Yüan-ch’ü hsüan wai-pien, 2:447, l. 8. It also recurs in the Chin P’ing Mei tz’u-hua, vol. 5, ch. 98, p. 2b, l. 1; and p. 6b, l. 1.
4. This four-character expression occurs ubiq
uitously in Chinese literature. See, e.g., I-chien chih, vol. 1, chia-chih (first collection), chüan 13, p. 112, l. 1; Ming-kung shu-p’an ch’ing-ming chi, vol. 2, chüan 11, p. 398, l. 9; Yüan-ch’ü hsüan, 1:398, l. 2; Yüan-ch’ü hsüan wai-pien, 3:925, l. 16; Sha-kou chi, scene 24, p. 92, l. 3; Chi Ya-fan chin-man ch’an-huo, p. 274, l. 8; Hsi-hu san-t’a chi, p. 28, l. 7; Pai Niang-tzu yung-chen Lei-feng T’a, p. 441, l. 14; Yüeh Fei p’o-lu tung-ch’uang chi, chüan 2, scene 32, p. 18b, l. 10; Huan-tai chi, chüan 2, scene 32, p. 28b, l. 4; San-kuo chih t’ung-su yen-i, vol. 2, chüan 16, p. 750, l. 26; Hsiu-ju chi, scene 26, p. 73, l. 7; Shui-hu ch’üan-chuan, vol. 1, ch. 15, p. 218, ll. 13–14; Ts’o-jen shih, p. 224, l. 3; the middle-period vernacular story Ssu-sheng chiao Fan Chang chi-shu (The chicken and millet life and death friendship between Fan Shih and Chang Shao), in Ch’ing-p’ing shan-t’ang hua-pen, p. 281, ll. 3–4; Shen Hsiao-kuan i-niao hai ch’i-ming, p. 391, l. 10; Jen hsiao-tzu lieh-hsing wei shen, p. 578, l. 12; T’ang-shu chih-chuan t’ung-su yen-i, vol. 1, chüan 1, p. 35a, l. 4; Lieh-kuo chih-chuan, vol. 2, chüan 4, p. 15a, l. 7; Huan-sha chi, scene 12, p. 39, l. 4; San Sui p’ing-yao chuan, chüan 2, ch. 7, p. 21b, l. 6; Ming-feng chi, scene 30, p. 123, l. 8; Hsi-yu chi, vol. 2, ch. 97, p. 1096, l. 15; Ch’üan-Han chih-chuan, vol. 3, chüan 1, p. 18a, l. 1; Pai-chia kung-an, chüan 1, ch. 5, p. 23a, l. 10; Ta-T’ang Ch’in-wang tz’u-hua, vol. 1, chüan 3, ch. 19, p. 32b, l. 7; Sui-T’ang liang-ch’ao shih-chuan, chüan 2, ch. 17, p. 39b, l. 9; and a host of other occurrences, too numerous to list.
5. A very similar version of these two lines occurs in Chi Ya-fan chin-man ch’an-huo, p. 281, l. 15.
The Plum in the Golden Vase or, Chin P'ing Mei Page 73
