by Tang Xianzu
Foreword
The Purple Flute
Translated by Wang Rongpei, Zhang Ling & Gu Wei
The Purple Hairpins
Translated by Wang Rongpei, Zhu Yuan & Zhang Ling
The Peony Pavilion
Translated by Wang Rongpei
The Nanke Dream
Translated by Wang Rongpei, Zhang Ling & Huo Yuehong
The Handan Dream
Translated by Wang Rongpei
Foreword
Tang Xianzu (1550–1616), alias Yiren, was a dramatist, poet, essayist and a profound thinker. He lived a legendary life at the end of the Ming Dynasty, styling himself Ruoshi, Hairuo, Qingyuan Taoist and Hermit of the Jade Tea Studio. He was born into an intellectual family in Linchuan (in present-day Fuzhou of Jiangxi Province) on 24 September, 1550. At the age of twelve, he was a well-known poet; when he was fourteen, he passed the imperial examination at the county level; when he was twenty-one, he passed the imperial examination at the provincial level, but not until he was thirty-four did he pass the imperial examination at the national level. He served in Nanjing successively as adviser in the Court of Imperial Sacrifices, as secretary to the Office of Imperial Affairs and as administrative aide in the Sacrifice Bureau of the Ministry of Rites. In 1591, he wrote the famous “Memorial to Impeach the Ministers and Supervisors”, criticizing the court for its misadministration since the ascendance of Emperor Shenzong and impeaching prime ministers Zhang Juzheng and Shen Shixing. As a result, he was demoted to the position of clerk in Xuwen County, Guangdong Province. A year later, he was transferred to be the magistrate of Suichang County, Zhejiang Province, where he took some enlightened measures for social development. After five years in office, he returned to his hometown, giving up all ideas of an official career and devoting himself to writing. On 29 July, 1616, he died in the Jade Tea Studio in Linchuan.
Tang Xianzu has left behind more than 2,000 poems, essays and rhymed essays, besides his chief achievement, dramatic works. His masterpieces “The Peony Pavilion” (also entitled “The Return of the Soul”), “The Handan Dream”, “The Nanke Dream” and “The Purple Hairpins” are known as the “Four Dreams of Linchuan” or the “Four Dreams of the Jade Tea Studio”. His plays, including the “Four Dreams” and “The Purple Flute”, have passed down through numerous printings in the Ming and Qing dynasties, together with his Leisurely Poems from the Red Spring Studio, Collected Poems by Tang Xianzu and The Complete Works of the Jade Tea Studio. In contemporary China, The Collected Works of Tang Xianzu edited by Qian Nanyang and Xu Shuofang was published in 1962, and The Complete Works of Tang Xianzu annotated by Xu Shuofang was published in 1999.
Although Tang Xianzu was highly esteemed in the literary drama circles, “Tang Xianzu Studies” gradually came into being in the twentieth century. The studies on Tang Xianzu, especially on his dramatic works, can be roughly divided into two stages – the first half and the second half of the twentieth century. The studies in the first half of the twentieth century inherited the tradition of the Ming and Qing dynasties in tracing the origin of the stories, composing the music for them, singing the arias and appreciating the verse, but lacked new ideas and elucidation. The researchers were confined to certain experts in drama and literary circles, including Wang Guowei, Wu Mei, Wang Jilie and Lu Qian in the early period, and Yu Pingbo, Zheng Zhenduo, Zhao Jingshen, Zhang Youlan, Jiang Jiping and Wu Zhonghan in the later period. The studies in the second half of the twentieth century, in spite of the interference of vulgar sociology and ultra-left ideology, saw a small high tide around 1957 in commemorating the 340th anniversary of Tang Xianzu’s death. Since the end of the 1970s, Tang Xianzu Studies has developed in depth. In commemorating the 366th anniversary of Tang Xianzu’s death, China’s academic circles held grand ceremonies in his native town and published a number of theses and other works, thus bringing Tang Xianzu Studies into a new era. The international symposium and the commemorative meeting held respectively in Dalian and Linchuan in 2000, with large numbers of participants and research papers, marked a new height in Tang Xianzu Studies. The conference of the China Association for Tang Xianzu Studies was held in Suichang, Zhejiang Province, for the first time in August 2001, and has been held several times in the following years, with its Journal of Tang Xianzu Studies published biannually since 2004.
To readers outside China, Tang Xianzu’s name is inseparable from his magna opus “The Peony Pavilion”, which reached Japan at the beginning of the seventeenth century. According to The Catalogue of the Royal Library in Japan, six copies of “The Peony Pavilion” (Zang Maoxun’s adapted version) published in the Ming Dynasty were kept in the Royal Library as early as 1636. “The Return of the Soul” or “The Peony Pavilion” translated into Japanese by Kishi Shunpulo was published by the Culture and Education Press in 1916. “The Return of the Soul” translated by Miyahara Minpei was published by the Tokyo National Library Publishing Association, and contained in Volume 10 of Collection of Chinese Works Translated into Japanese (1920-1924). Yiwashiro Shideo also translated “The Return of the Soul” into Japanese.
“The Peony Pavilion” also has various full-length and abridged English versions by Harold Acton, Cyril Birch, Zhang Guangqian, Wang Rongpei, Lindy Mark, Ben Wang, Xu Yuanchong and Xu Ming. The numerous translation and performances in the West have brought high acclaim to this play. According to The Drama 100, A Ranking of the Greatest of All Times (Daniel S. Burt, Facts on File, Inc. 2007), “In world drama there is no more extensive and beautiful exploration of love than Tang Xianzu’s “Mudanting” (“The Peony Pavilion”). In fifty-five scenes and a performance time of eighteen hours, “The Peony Pavilion” merits the designation of epic. Its central character, the young woman Du Liniang, embarks on a journey of discovery to reach her heart’s desire, facing down life-and-death obstacles in this world and the next. Along the way an entire culture’s values and traditions are displayed. In a western context “The Peony Pavilion” combines elements of Homer’s Odyssey, Virgil’s Aeneid, Dante’s Divine Comedy, and John Milton’s Paradise Lost. Moreover, arguably it is the first great epic with a complex, believable woman protagonist. Despite its vast scope, “The Peony Pavilion” is anchored by a remarkable psychological depth and earthy realism. It turns lyrical, philosophical, satirical, fantastical, and bawdy, interweaving sentiment and humor. “The Peony Pavilion” provides one of the great entry points for an understanding of Chinese culture and Chinese classical dramatic traditions.”
Tang Xianzu has been long acclaimed as China’s Shakespeare but has not reached the Western readers in his entirety. With the 400th anniversary of the death of these two great dramatists in 2016, we offer The Complete Dramatic Works of Tang Xianzu to commemorate the historic occasion. We are relieved to have completed this endeavor after an effort of nearly two decades, and we hope that this English edition has presented the full grandeur of these plays. We shall be eagerly awaiting the comments from the international reading public.
The Purple Flute
Translated by Wang Rongpei, Zhang Ling & Gu Wei
Table of Contents
Scene One
Prelude
Scene Two
Friends’ Get-Together
Scene Three
Spring Outing
Scene Four
Exchanging the Concubine for a Horse
Scene Five
Indulging His Mistress
Scene Six
Discriminating the Tunes
Scene Seven
Conversion to Taoism
Scene Eight
A Visit to an Old Acquaintance
Scene Nine
Inviting the M
atchmaker
Scene Ten
Tactful Inquiry
Scene Eleven
Presentation of the Betrothal Gifts
Scene Twelve
Carrying the Locket
Scene Thirteen
Accepting the Betrothal Gifts
Scene Fourteen
Borrowing a Stalwart Steed
Scene Fifteen
The Wedding
Scene Sixteen
Congratulations
Scene Seventeen
Picking Up a Flute
Scene Eighteen
Bestowing the Flute
Scene Nineteen
Returning with the Imperial Decree
Scene Twenty
A Happy Stroll
Scene Twenty-One
Winning the Laurel
Scene Twenty-Two
Parting with Reluctance
Scene Twenty-Three
Bidding Farewell
Scene Twenty-Four
The Seeing-Off
Scene Twenty-Five
Journey to the Frontier
Scene Twenty-Six
Arrival at the Frontier
Scene Twenty-Seven
Profound Longings
Scene Twenty-Eight
Tubo’s Harassment
Scene Twenty-Nine
A Sincere Wish
Scene Thirty
Stationed in the Frontier
Scene Thirty-One
Conversion to Buddhism
Scene Thirty-Two
Border Thoughts
Scene Thirty-Three
Coming Out of Seclusion
Scene Thirty-Four
Reunion on the Double-Seventh Day
Scene One
Prelude
(Enter the narrator)
NARRATOR (To the tune of Xiaochongshan):
When the auspicious sun bestows a new look on the earth,
The young lady invites a man of worth
To take a stroll to enjoy the grass and blooms.
They glow with life when they pick the peaches and plums,
Where the people go happy and gay
And the mansion detains their returning way.
When bright candles illuminate the lady’s red dress,
The moon and the flowers do impress
The man at this hour and this place.
Elegantly she would dance with grace
And sweetly she would sing
And play the music of “Warm Spring”.
Dear audience, please keep quiet! Now please watch our performers playing Li Yi’s Story of the Purple Jade Flute, but first of all I’d like to introduce the main plot to you.
(To the tune of Fenghuangtaishangyichuixiao)
The gifted scholar Li Yi
And Princess Huo Xiaoyu
Are brought together by a poem.
The story concerns a purple jade flute
That was picked up on the Lantern Festival.
After a successful palace test,
Li serves in the troops, separated with his wife.
When he comes back,
A peace-making marriage with Tubo is arranged,
But successive wars bring him into trouble.
Pretty as a blossom,
Princess Xu from the palace
Is married to Li as a concubine,
Going through thick and thin.
Trapped in the groundless slander,
Princess Huo sells the jade flute.
With the help of his bosom friend,
Li escapes death and becomes a high official at court.
Princess Huo resumes marriage with him
When all the previous suspicions
Are thrown into the wind.
When Li Yi wins reputation in the court,
Princess Huo picks up a jade flute by chance.
Shang Zipi saves Li out of the siege on the fort;
Princess Xu went to Tubo and returns in advance.
Scene Two
Friends’ Get-Together
(Enter Li Yi)
LI YI (To the tune of Zhenzhulian):
When the Spring God in the east is auspicious at dawn,
I look eastward
To see the sun rising from behind the colorful clouds.
When the sun shines over the capital city,
People watch the weathercock by the Divine Terrace.
The juniors toast to the seniors in the family
To wish them a happy New Year
And a long life.
Paper flowers are cut by the palace maids
To rival with the blue robes and willow trees.
“To welcome the advent of New Year,
The palace gates are open at twilight.
From the treasure tripod coils the incense smoke,
Spreading its fragrance over the Divine Terrace.
Each family pastes paper-cuts on the windows
While ministers toast to the long life of the emperor.
The court abounds in literary talents,
Who are excellent in drafting documents.”
I am Li Yi from Longxi, styled Junyu. My departed father Li Kui was Prime Minister for the late emperor. My departed mother, surnamed Xin, was entitled Lady Didao. We have marten coats, golden seals, ten carriages with horses, and a thousand imperial decrees. We boast valuable books like the calligrapher Wang Zijing, who held bestowed books of rarity, and paintings from Emperor Taizu of Liang, who collected famous paintings of great value. I have been keen on probing into metaphysics and the theory of being hard and white. My youthful talent shines like the rising sun, and radiates like the precious jade. Like the swords flying to the azure sky, I wish to soar to the dragon’s height. I read widely when I was a kid like Huang Xiang from Jiangxia at the age of nine, and showed interest in astronomy like Guan Luo from Qinghe at the age of eight. As I am the youngest of ten brothers, I am also called Shilang, the tenth brother. It is just like what happens in a story,
“Among Jias’ three brothers in the Han Dynasty,
Weijie is the best;
Among Xun Shu’s eight sons in the Han Dynasty,
Ciming is to not to be equaled.”
I am as assiduous as Zhu Mu, who studied so hard as to forget to have meals. I am also as profound as Qiao Zhou, who was so lost in reading as to smile to himself. I can write good essays in refined diction, and produce beautiful handwritings in elegant styles and with natural grace. On the spacious ground for ritual ceremonies, among the grass and trees, and in the grand courtyard with mansions, I give vent to my incomparable talent and emotion without restraint. I make two hundred annotations to The Smaller Prajnaparamita Sutra, and write a verse-essay entitled “The Famous Capital”, briefly describing eighty scenic spots. I consider Guo Xiang’s commentaries and annotations on “Wandering in Absolute Freedom” by Zhuangzi inferior to Xiang Xiu’s. I am confirmed that He Pingshu’s commentaries and annotations on Book of Tao and Virtue by Laozi not equal to Wang Bi’s. When I chant the poem “Requiem” by Qu Yuan, I call to mind the mystical excursions of immortals by Li Bai. I sneer at the celebrities nowadays who attach more importance to daily trifles than to morals and ethics; I despise the Confucian scholars whose intelligence is lower than sunflowers. I grieve over Kuai Tong, whose repeated farsighted advice was rejected by Han Xin; I marvel at Mozi, who resisted nine offensives by Gongshu Ban and had six more tactics in reserve. I am very satisfied with the life in the garden and by the pond without any thought of an official career. However, my friends come to congratulate me while the county magistrates and city governors come to persuade me to assume an official post. Zhao Yi in the Eastern Han Dynasty visited an honest official Yang Zhi in Henan, while Zhang Changzong in the Tang Dynasty was elected as a distinguished scholar in Danyang. I feel myself unworthy of being recommended to be a high official, just like an ordinary branch among the cassia-bark trees in the imperial garden. As I was about to sit for the imperial examination in the palace, it was reported that the Tu
bos had captured several counties in the Longxi area and was pushing up to the city of Xianyang. The war fire spread to the Ganquan prefecture, and the imperial armies were stationed in Xiliu. So the imperial examination was postponed and everyone escaped for a safe place. The Longxi area falls into Tubo’s hands to become part of their territory. There are but weak willows in Yang Zude’s home while there are but withered pagoda trees in Yin Zhongwen’s yard. The Sanchuan region serves as the fountain to drink horses while the Luhun area is disturbed by wars. The cities and towns there are frequented by the soldiers. No trees are seen beside the wells, but weapons are scattered everywhere. What a pity it is that the prosperous life is ruined! How regrettable it is that the cultural relics and classical works are destroyed! Tears are shed when people look at the ancestral graves and hometowns are forsaken for faraway places. I am detained in the imperial capital from the spring to the autumn, by staying in a hotel with my health damaged. However, it is fortunate that things are turning for the better and spring is at hand. Today is New Year’s Day in the fourteenth year under the Yuanhe Reign, and it happens to be the day of Beginning of Spring. All the court officials and the imperial examination candidates enter the Cloud and Dragon Gate and come to the Taiji Palace for a greeting audience. As people peep at the sun through the morning glow, so the officials have an audience with the emperor on New Year’s Day. The carriages and horses jingle with bells while the nine grand golden tripods stand in the courtyard. An audience is given to the ministers in the Yuzhang Palace while variety shows provide entertainment before the Flower and Calyx Building. When the Emperor ascends the throne, showering his grace over all the families and households, the people look up to him and cheer loudly, “Long live the Emperor!” After the audience is over, meals are granted in the Imperial Kitchen. Showered with the emperor’s kindness, the ministers get intoxicated, in a harmonious atmosphere and in full vitality. Who would say that the country is in turmoil and upheaval? The music is always echoing in peace and tranquility. There is only one thing I am concerned about. I am nineteen years old but still single and have not carved out an official career by this festival. I am like the pepper flower that is worth lauding but has not yet met Mrs. Liu who wrote “Ode to the Pepper Flower”; I am also like the cypress leaf in the wine cup that is passed in vain but has not reached the seat of Dai Ping who expounded the classics. So I can only sigh deeply at that on New Year’s Day. But it is a relief that many people of valor and gifts know about me, and many people of noble birth and superior positions come to visit me. An old friend of mine named Hua Qing, styled Jingding, used to be governor of the Xichuan area and has been promoted to the position of the Grand General. A candidate of the martial arts examinations named Shi Xiong, styled Ziying, is both intelligent and brave beyond comparison. Shang Zipi, son of the king of Tubo’s Yangtong tribe in the Kunlun Mountains, is now studying in the Imperial Academy. The three of them are of different ages but are all valiant men. When we gathered at the palace gate for the New Year celebrations, we made the appointment to meet in my house. I have told my servant Qing’er to prepare the meal and wine, but I wonder whether everything is ready.
