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TRADITIONAL CHINESE LITERATURE Volume 2 W
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THE
Indiana Companion TO
Traditional Chinese Literature (Volume 2) W illiam H . N ienhauser , J r . Editor and Compiler
C harles H artman Associate Editor
S cott
W.
G aler
Assistant Editor
SMC PUBLISHING INC. Taipei
This volume is dedicated to my teachers: Friedrich A. Bischoff, Wu-chi Liu, Irvjng Yucheng Lo, and Peter Olbricht.
All rights reserved. Reprint and published in 1999, for sale in Taiwan and Hong Kong, by arrangement with Indiana University Press.
No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses’ Resolution on Permissions constitutes the only exception to this prohibition.
ISBN 957-638-516-4
Library of Congress Cataloging-in-Publication Data Main entry under title: The Indiana companion to traditional Chinese Literature. Bibliography: p. Includes indexes. Contents: pt. 1. Essays. — pt. 2. Entries I. Chinese literature—Bio-bibliography. 2. Chinese literature—History and criticism—Addresses, essays, lectures. I. Nienhauser, William H. Jr. Z3108.L515S 1985 [PL2264] 895.1'09 83-49511 ISBN 0-253-32983-3 (v. 1 : alk. paper). — ISBN 0-253-33456-X (v. 2 : alk. paper) 1 2 S 4 5 03 02 01 00 99 98
Contents Preface List of C ontributors A N ote on U sing This Book A bbreviations List o f C hinese and Jap a n e se Journals List of C hinese and Jap a n e se Publishers O ft-cited W orks M ajor C hinese D ynasties an d Periods
Part I: New Entries Chang Lei Chang Yen Ch’en San-li Ch’eng-kung Sui Ch’i Ch’in Kuan Chiu-seng t ’i Ch’ti-lil Chuang Tzu Erh-nii ying-hsiung chuan E rh-t’ung wen-hsUeh (Children’s Literature) Fan Yeh H ao-fangp’ai Ho Hsiin Hou Chih Hsia Wan-ch’un Hsing-shih yin-yiian chuan Hsii Yiian-tuan Huan T’an Huan-hsi ytian-chia I-p ’ien ch’ing I-wen chih Ku Ch’un Kuang-i chi Kuo P’u Late-Ch’ing fiction L iE Li Kuan Lien-chu
vii xi xiii xiii XV
xxi xxxi XXXV
1-198 l 3 5 7 9 12 16 18 20 26 31 38 42 45 48 49 53 58 60 62 63 63 68 70 71 74 84 87 89
Literary Chinese Liu Chun L iuK ’ai Liu K’un Liu Mien Liu Shih Lu Yiin Meng Ch’eng-shun Pao-chiian Pien erh ch’ai Po t ’i Printing and Circulation P’u Meng-chu San-kuo chih Shen Shan-pao Shen Ya-chih .Shih Chieh Sun Ch’o Sung Ch’i T ’ao Hung-ching Tou-p’eng hsien-hua Ts’ao Ts’ao tzju-shu or tzu-tien Wan-ho Wan-ytteh P ’ai W ang Ch’ung W angjung W ang Ling W ang Tuan W ang Tuan-shu W ang Yen-shou Wu-hsia hsiao-shuo Ytieh chi Yiin Shou-p’ing
92 97 100 103 105 107 109 112 117 121 122 124 132 134 138 141 147 149 151 154 158 162 165 172 175 176 178 181 184 185 187 188 192 195
Part II: Updated Bibliography of Essays and Entries in Volume 1
199
Appendix I: Table of Contents for Volume 1 Appendix II: Errata and Corrigenda to Volume 1 Name Index to New Entries Tide Index to New Entries Subject Index to New Entries
493 505 517 529 543
Preface This book, it seems, began with the inertia from the first volume of the Indiana Companion to Traditional Chinese Literature. It also originated with my colleagues and students, especially those in the graduate History of Chinese Literature classes over the years. But it must have originally taken its impetus from the classes I had at Indiana University and Bonn University in the late 1960s and 1970s, from the lectures of my teachers, Friedrich A. Bischoff, Wu-chi Liu, Irving Yucheng Lo, and Peter Olbricht. This second volume of the Indiana Companion is, therefore, dedicated to them. The first volume of the Indiana Companion has been a fixture in the introductory graduate courses at the University of Wisconsin. For this reason, revisions of errors and additions to the bibliographies began as soon as the text was available in early 1986. The desire to correct the minor errors and typos we found led to a Second Revised Edition in Taiwan (Taipei: SMC Publishing Co. 1988). I want to thank again those colleagues who contributed to the list of 500 errata corrected in that Taiwan edition: Wang Ch’iu-kuei Robert Joe Cutter, Silvio Vita, Ch’an Chiu-ming Pi 81 HE, W ei Te-wen (my Taiwan publisher and friend), and especially Glen Dudbridge who followed up his review of the book (TLS, 9 May 1986) with a long list of errata. These original 500 errata have recently been conflated with another list prepared by William Schultz and form the basis of the “Errata and Corrigenda” appended to this second volume. To my knowledge Bill Schultz is the only person who has read volume one cover to cover. I am most grateful to him. An important correction made in the Revised Taiwan Edition which I do not want to be lost in an appendix was the addition of George Kao’s name and key (GK) to the “List of Contributors” in volume one. After the publication of the Taiwan Edition in 1988, the errata were put away in a drawer and the updated bibliographic lists began to interest me more. That same year (1988) some of these lists were edited and published as the Bibliography o f Selected Western Works on Tang Dynasty Literature (Taipei: Center for Chinese Studies, 1988). Later, these bibliographies became lengthy enough that I began to contemplate a second volume of the Indiana Companion. At first I envisioned only a bibliographic update. But there were a few left-over entries from the first volume and reviewers had made a number of useful suggestions for additional entries. Moreover, by 1990 memories of the difficulties of organizing the contributions of nearly two-hundred colleagues for the first volume had began to fade. Besides, I was convinced that my m entor in all attempts at publishing over the past fifteen years, Jo h n Gallman, Director of Indiana University Press, would dissuade me from the idea of a second volume. To my surprise, John’s response to my inquiries in early 1996 was encouraging and enthusiastic. My longtime colleague and friend Charles Hartman was equally supportive and agreed to serve again as associate editor for the volume. Besides continued advice, Charles has been a careful reader of both the entries and some of the bibliographies of this second volume. He also contributed two entries. With Charles willing to help, I began to write to colleagues and to enlist them in the project. W ithin a short period of time more than twenty colleagues agreed to help. By the
end of 1996 there were thirty-two contributors who eventually wrote sixty-three new entries. This was a carefully picked group. They were attentive to deadlines and guidelines and produced some excellent, innovative entries within a period of a little more than a year. These entries are on average fifty-percent longer than those in volume one. Many treat generals topics such as E rh-t’ung wen-hsUeh (Children’s Literature), LateC h’ing fiction, Literary Chinese, Pao-chilan, Printing and Circulation, tzy-shu or Uyi-tien, and Wu-hsia hsiao-skuo. An effort has been made to incorporate more Chinese characters (for cross-referenced authors and works, for example). Finally, a number of entries include translations and Chinese texts of works that illustrate a claim or argument. The sixty-three entries axe not concentrated in any era. Nearly a third deal with subjects in the pre-T’ang period. Four entries relate to the T ’ang, ten are on Sung subjects, fifteen on the Ming, and about the same number treat topics associated with the Ch’ing. Each entry, as in the first volume, presents basic information followed by a tripartite bibliography which lists editions, translations (into English, French, German, Japanese and occasionally other languages), and studies. The sections of bibliographic updates which follow that of the new entries do not claim to present every tide published since the first volume. They generally include works from 1984 (when the bibliographies in volume one left off) through 1996, with some items for 1997 and 1998 included as well. For entries with a num ber of studies, we have tried to select only the most im portant (primarily monographs and articles by well-known authors or those which appeared in wellknown journals). For subjects which are less explored, we tried to incorporate most of what we have found. W hen we could not locate one part of a bibliographic item (like the page numbers), we often included an incomplete bibliographic reference as long as it seemed that the information provided was sufficient to allow the reader to locate that item. None of the essays or entries in volume one of the Indiana Companion were listed in these bibliographic updates. Turning to human resources, a special note of gratitude is due W. L. Idema of Leiden University. During the compilation of the first volume, I met with a group of m ore than a dozen European scholars in Germany to discuss the scope of the project and the design of the essays and entries. Wilt was as instrumental in making this European Workshop a success as he was tireless in his suggestions on the manuscript as it developed. For this second volume he has again been a generous benefactor, lending me the extensive bibliography which was the basis for that in his A Guide to Chinese Literature (coauthored with Lloyd Haft; Ann Arbor: Center for Chinese Studies, University of Michigan, 1997) and suggesting extensive additions to the updated bibliographies for both Popular Literature and Drama (see below). O ther scholars who assisted with the bibliographic updates include: Stephen F. Teiser and Neil Schmid (Buddhist literature), Robert E. Hegel (fiction), Haun Saussy and Pauline Yu (literary criticism), Victor H. Mair (popular literature), Thom as H ahn and Franciscus Verellen (Taoist literature), Kang-i Sun Chang and Ellen W idmer (women’s literature). Ronald Egan and William Schultz added items to the bibliographies of several entries. Finally, the students in my classes at the University of Wisconsin have been consistendy supportive. Among this later group several deserve special mention.
First and foremost is Scott W. Galer. Scott is listed as the assistant editor, but he actually wore many hats. Without him the book could not have been completed. H e not only read and helped revise the manuscript several times, but also was instrumental in organizing, typing, revising, formatting and printing it. H e did the name and title indexes to the new entries. Scott was also the person who was able to steady the editorial sloop in the rough waters of the last few months of reading and revising the text These last few months also proofed the patience and scholarship of several other valuable assistants: Cao Weiguo Bruce Knickerbocker, and Keiko O da /hfflSC-y-. Besides contributing two entries, Weiguo was in charge of the J-L section of the bibliographic updates for the entries and undertook various other tasks, such as answering my own questions regarding various original texts. Weiguo was also determined to find updated bibliographic listings for each of the over five-hundred entries in volume one and nearly succeeded in doing so. Bruce Knickerbocker handled the M-Y bibliographic updates as well as the “List of Chinese and Japanese Publishers.” H e also worked on whatever portion of the manuscript needed immediate attention and did so with care and good cheer. With Burton W atson’s admonitions concerning the first volume in mind, we enlisted the aid of Keiko Oda, a graduate student in Japanese linguistics at the University of Wisconsin who has studied Chinese. Ms. Oda joined us late, but worked diligently and long to romanize and type most of the Japanese bibliographic entries. She also helped brighten the drudgery involved in editing the lengthy bibliographies. Su Zhi provided fresh eyes to carefully check bibliographic items in the library in recent weeks. Yamanaka Emi |JLl4, SCll assisted with typing the Japanese materials. Several of those students are my advisees. Watching them grow in many ways (without growing tired!) during the compilation of this book has been one of the great pleasures of the past year. These bibliographies had been organized and expanded earlier by Bruce, Scott, Weiguo, and J. Michael Farmer. Mike also set up, and for a long time maintained, the computer system on which we typeset this volume. H e also helped with advice on dozens of questions regarding the production of camera-ready copy and still found time to contribute two entries. I am also grateful to the Pacific Cultural Foundation and the Graduate School of the University of Wisconsin for supporting related research that contributed to the compilation of this book. Work on the bibliographies in Berlin (summer 1997) was generously funded by the Alexander von Humboldt-Stiftung. Thanks to the Stiftung and to Dr. H artm ut Walravens and Dr. Cordula G um brecht of the Staatsbibliothek-Berlin for sharing their knowledge about recent European scholarship. Klaus Stermann enabled us to find housing at the FU-Berlin. Professor Wolfgang Kubin once again made a sojourn in Germany possible by helping with practical matters and by visiting me in Berlin to offer sound advice on the project. During his sojourn in Madison this winter, he has cheered our editorial group and continued to offer advice. Thanks is also owed to those who prepared the trip to Japan and Hawaii from which I just returned. My stay in Japan was harmoniously orchestrated by Professor Kawai Kozo He lent his expertise, access to libraries in Kyoto and Tokyo, and his own excellent collection of books during my stay. Moreover, he has offered advice on Japanese publications throughout this project. In Hawaii another former teacher, Bart Mathias, gave counsel on Korean
sources. M y colleague, John Wallace, lent his experience in negotiating the practical aspects of Tokyo today. During die compilation of the bibliographies, Tai-loi Ma (then at the University of Chicago) answered tens of queries. Lu Zongli has been a regular source of information on the publishing industry in China. Kawai Kozo Jl| 'n ’JKH gave similarly valuable commentary on Japanese publications. Teresa Nealon, Administrative Secretary of the Department of East Asian Languages and Literature, University of Wisconsin, Madison, advised on a num ber of practical matters and kept the cash strings untangled. I would be remiss were I not to thank John Gallman and his staff once again. This is the fourth book I have published with Indiana University Press and the staff there seems to provide better guidance each time. Jo h n “Zig” Zeigler and others have assisted and advised us for months, tirelessly explaining what might be done to enhance the contents and appearance of the text. In closing, I need to thank those tireless reviewers of the first volume who helped inspire and shape the second. To assist them in future endeavors, I should note that we now have two entries on the poet Ku Ch’un H # (1799-after 1876): in this second volume she is found under Ku Ch’un, but is listed under her hao as Ku T ’ai-ch’ing in volume one. This duplication was by design, since the approach and comments of the two authors seemed complementary. Finally, I want to thank my family. Although my daughter and son were not aro u n d to sort and stack file-cards this tim e, th e ir c h ild re n -m y grandchildren—managed on more than one occasion to rearrange various materials in my study-always with a positive result (I have my eye on them for volume three). My wife, Judith, is certainly disappointed that she was not involved in the day-to-day production of this volume as she was with the original, but she remains the keeper of the psychic keys and the chair of the goodwill and good luck that somehow seems to surround these ventures. Lacking some such ties to volume one, this second volume of The Indiana Companion to Traditional Literature is to a certain extent an independent work. It presents more than sixty new entries on important authors, texts, styles, and groups from traditional Chinese literature. Yet the numerous cross-references to volume one, the bibliographies intended to update their counterparts in the original Indiana Companion, and the list of errata for the first volume suggest that volumes one and two would best be consulted together. Towards this end, Indiana University Press is reissuing the first volume concurrently with this sequel. William H. Nienhauser, Jr. Madison, 21 March 1998
List of Contributors Alan Berkowitz, Swarthmore College Cao Weiguo W&sWH, University of Wisconsin, Madison Chen Bingmei University of W isconsin,, Madison Chen Zhi The National University of Singapore Scott Cook, Grinnell College RobertJoe Cutter, University of Wisconsin, Madison William Dolby, University of Edinburgh Glen Dudbridge, Oxford University J. Michael Farmer, University of Wisconsin, Madison Grace C. Fong, McGill University Beata Grant, Washington University John Christopher Hamm, University of California-Berkeley Charles Hartman, The University at Albany Robert E. Hegel, Washington University Hsiung Ping-chen Institute of Modem History, Academia Sinica W. L. Idema, Leiden University Karl S. Y. Kao H , Hong Kong University of Science and Technology Andre Levy, University of Bordeaux Irving Yucheng Lo Lu Zongli Hong Kong University of Science and Technology Janet Lynn-Kerr, Valparaiso University Victor H. Mair, University of Pennsylvania William H. Nienhauser, Jr., University of Wisconsin, Madison Jonathan Pease, Portland State University Timoteus Pokora, Prague Jui-lung Su, The National University of Singapore Franciscus Verellen, EFEO David W. Wang, Columbia University Ellen Widmer, Wesleyan University Ernst Wolff Yenna Wu, University of Califomia-Riverside Michelle Yeh, University of California
A Note on Using This Book Most of what was said in the “Note on Using This Book” in volume one of the Indiana Companion to Traditional Chinese Literature applies to this volume. As in the first volume, asterisks following a name or title-H an Yii (768-824)*-indicate cross references. One asterisk, as here, refers the reader to an entry on Han Yii in volume one; two asterisks, as in “Shen Ya-chih (781-832)**”-m ean the entry on Shen Ya-chih is included in this second volume. (In this volume, unlike volume one, Chinese characters and dates are given for a cross-referenced author.) One major difference in this volume is that original works (or excerpts of such works), along with the original texts, are presented in some entries to help illustrate a style or technique. Chinese and Japanese journals are cited by romanization only throughout the entries and bibliographic updates. Complete titles, with Chinese and Japanese, are found in the “List of Chinese and Japanese Journals.” Official tides are given in die following form: “administrator (chih £□).” The translations are generally based on Charles O. Hucker, A Dictionary o f Official Titles in Imperial China (Stanford: Stanford University Press, 1985). The three indexes (name, tide and subject) are keyed to the New Entries only. The bibliographic updates are not intended to be complete. They include most works from 1984 (when the bibliographies for volume one left off) through 1996, with some items from 1997 and 1998 also listed. For entries with a number of studies, we have tried to select only monographs and articles by well-known scholars which appeared in standard journals. For subjects that are less studied, we were more catholic in our selection. We included partial bibliographic entries as long as sufficient information was provided to allow the reader to locate the item. O ther instructions on using this book can be found in the brief notes before the updated bibliographies for the essays and entries below.
Abbreviations annot. c. ca. comm. coll. comp. ed. fl
—
rev. ed. — trans. transl. -
annotator century circa commentator collator compiler editor floruit revised editions translator translation
List of Chinese andJapaneseJournals This list is intended to give the Chinese or Japanese characters for all journals cited in the bibliographies by romanized tides only. Abbreviations and full references for Western journals can be found in “Oft-cited Works” below. A Ajia Afurika bunpo kenkyu
7 'S 7 7 ~7 ) 3)
B B ungakukenkyulC tm ® .
C Che-hsiieh yen-chiu Cheng-chou Ta-hsiUhhstteh-pao%Wij<M%MPk Cheng-ta hsileh-pao Ch’eng-te Shih-chuan hsileh-pao Ch’eng-tu Shih-chuan Hsueh-pao Chi-lin Ta-hsiieh She-hui K ’o-hsiieh hsileh-pao Ch’i-Lu hsiieh-k’an Chiang-hai hsiieh-k’an !J Chiang-han lun-t’an Chiang-hsi Chiao-yii Hsiieh-yiian hsileh-pao Chiang-hsi hsiieh-k’an £C Chiartg-su Chiao-yii Hsiieh-yiian hsileh-pao Chikushijokakuen Tanki Daigaku kiyo Chin-ling hsileh-pao Chin-tai Chung-kuo fit-nU shih yen-chiu Ifift 41 Chin-yang hsiieh-k’an W Ch’ing-hai she-hui k ’o-hsiieh Ch ’ing-t ’ung shih-tai Ch’iushih Chubtin kenkyu shUkan Chugoku bungaku hd Chugoku bungaku ronshu Chugoku bunka Chugoku Chiisei bungaku kenkyU Chugoku koten gikyoku ronshu Chugoku koten shdsetsu kenkyu dotai Chugoku shibun ronso Chugokugakushi 4,H l^i£ Chugoku-Shakai to bunka -----b JC it Chung-ch’ing Shih-yiian hsileh-pao Chung-chou hsiieh-k’an Chung-hua hsiieh-yiian
J!£l
Chung-hua wen-hua ju-hsingyiieh-kan f!J Chung-hua wen-shih lun-ts’ung Chung-kuo hsiao-shuoyen-chiu ts’ung-k’an Chung-kuo ku-tien wen-hsiieh lun-ts’ung Chung-kuo L i Po yen-chiu shang %± Chung-kuo she-hui k ’o-hsUeh Chung-kuo shih yen-chiu ^ H Chung-kuo tao-chiao Chung-kuo wen-cheyen-chiu chi-k’an Chung-kuo wen-che yen-chiu t’ung-hsiin Chung-kuo wen-hsiieh yen-chiu ts’ung-k’an Chung-kuo Yin-yiieh Hsiieh-yiian hsueh-pao, ch’uan-k’an h a o tyM ia M ^^z^W i Chung-kuo yu-wen ^S S lnjt Chung-pao 43?S Chung-wai wen-hsiieh Chung-yang Hsiieh-shu Yen-chiu-so chi-yao Chung-yang t ’u-shu-kuan kuan-k’an Chutetsu bungaku kaiho
D Daito Bunka Daigaku Kiyo-Jimbun Kagaku F Fu-chien lun-t’an M f t i S Fu-chou shih-chuan hsueh-pao Fu-jen hsiieh chih Fu-jen kuo-wen hsueh-pao $f f“ IS P Fu-ta Chung-yen-suo hsiieh-k ’an $f A ^ Fu-tan hsileh-pao Fu-yang Shih-yilan hsiieh-pao
-----
P/r^"PJ
G Gakurin H Han-hsileh Yen-chiu Hanazono Daigaku Bungakubu kenkyu kiyo Hang-chou Shih-yilan hsueh-pao Hiroshima Daigaku Bungakubu kiyo Ho-nan Ta-hsiieh hsiieh-pao Ho-pei hsiieh-k’an, Ho-pei Shih-fan Ta-hsiieh hsiieh-pao Ho-pei Shih-yiian hsueh-pao Hokkaido Kyoiku Daigaku kiyd,Jimbun kagaku HoseiDaigaku Kydyobu kiyojimbun-kagakuhen&PlJ Po-yen jit; San-yiian fftJK; 1852-1937), a talent ed and influential poet of the late Ch’ing, and also a noted essayist of the T ’ungch’eng School,* was the acknow ledged leader of the so-called “T ’ungKuang Style” poetry (“T ’ung” refers to the reign of the emperor T ’ungchih |S ]^, 1862-74, and “Kuang” the reign of emperor Kuang-hsii 18751908) and the person most responsible for the resurgence of Sung poetry, which rem ained the dom inant influence in China for the next three quarters of a century (until the start of the SinoJapanese W ar in 1937). Ch’en San-li was bom in I-ning (modern Hsiu-shui ^7fc, Kiangsi) to a family of scholar-officials. His father, Ch’en Pao-chen (1831-1900) was a forward-looking official who, as Gov ernor of Hunan, carried out a modern ization program in an effort to make it a model province. Ch’en San-li obtained his chin-shih degree in 1886, and after a short stint as a junior official in the Board of Revenue in Peking, joined his father’s staff as an aide and involved himself in every significant aspect of his father’s administration. Joining them were such
prominent intellectuals as Chang Chihtung 551 ^.(1 8 3 7 -1 9 0 9 ), Liang C h’ich’ao (1873-1929),* T ’an Ssut’ung HSIIS) (1865-1908), and Huang Tsun-hsien (1848-1905).* But when the coup d ’etat of 1898 spelled an end to the Hundred Days’ Reform Move ment W 0 both father and son were cashiered from government service. His father was implicated in the movement because he had recomm ended to the court four of the six martyrs executed for treason. After a period of banishment, Ch’en San-li devoted his life entirely to liter ature. He lead a roaming life, spending most of his time in the south, including extended stays in Shanghai and Nanking. But is was the disastrous events of 1898, together with the national humiliation which China suffered at the hands of Japan, Russia, and other European pow ers in the nineties and during the Boxer Rebellion of 1900, which imbued his poetry with a strong sense of reality and a deep melancholy and resonance. His success as a poet won him the respect of his peers and younger contemporaries, leading to a revival of the Chiang-hsi shihp ’ai «#$£),* and particularly of the Sung poet Huang T ’ing-chien fitlS Il (1045-1105),* the idol of the T ’ungKuang poets. The “Chiang-hsi School of Poetry” denotes a style of verse which originated with such Sung poets as Huang T ’ingchien, Ch’en Shih-tao (10521102),* and C h’en Yu-i Rg#f#| (10901139).* O ne poet worshipped by all members of the school was Tu Fu tfcffif (721-770),* and next to him Han Yii M (768-824).* Poetry-writing, according to (his school, begins with an exhaustive study of the ancients, such as Tu Fu, which allowed the student to absorb their skills and imitate them creatively. This process was described by Huang T ’ingchien as “transmuting iron into gold with a touch” (tien t ’ieh ch’eng chin IfiiilcJ&az) and “snatching the embryo and changing
the bones” (t’o-t’ai huan-ku Il£§nl&#). By “creative imitation” Huang meant that the poet must strike out in new directions and never shun unusual words —or even “raw words” {ying-yii ®§n)- He must also base his observations on con crete things or events and pay attention to (he thought-content of a poem. Diction (tz u ^ ), Huang argued, must be “refined” or “smelted” (lien M ) as though by fire, and the strategy for a given line must be thought out beforehand, and stricdy governed by regulations (fa £fe). Actually, a generation before Ch’en San-li’s time, Sung poetry had already gained favor with several poets such as H o Shao-chi (1799-1873), Wei Yiian (1794-1857), and Cheng Chen (1806-1864).* But what the T ’ung-Kuang poets did was to elevate the rank of Huang T ’ing-chien to that formerly reserved for Tu Fu and Han Yii, while advocating a new way of writing poetry by emulating the ancients. In this regard, Ch’en wielded such an influence that, in a book entitled KuangHsiian shih-t’an tien-chiang lu (An Honor Roll of Poets of the Kuang[-hsu] and Hsiian[-t’ung] Reigns) by Wang Pi-chiang £Eff£ii [Wang Kuoyiian 'SESM, 1887-1966], C h’en was rated the foremost poet among a “band” of 108 individuals. (Each poet was likened to a “general,”or one of the heroic characters in the novel Shui-hu chuan zK C h’en San-li was compared to Sung Chiang thereby heading the honor roll.) Just as this emphasis on the technical perfection of verse was trumpeted in Sung times as an antidote to the heavy reliance on ornate and allusive language of theH si-k’un ©M* poets, Ch’en Sanli’s insistence on the use of realistic, sometimes even strange, diction to describe ordinary events was actually a call to depart from the critical theory of “spirit and tone” (shen-yiin # M ), as championed by W ang Shih-chen i d t , ^ (1634-1711)* earlier in the dynasty.
mm,*
As pointed out by Kuo Shao-yu (1893-1984) and others, Ch’en San-li’s critical tenets also owe much to the “flesh texture” (chi-li BIM ) theory of Weng Fang-kang HTjIH (1733-1818). Put into practice, such a theory “translates,” for instance, into a poem such as Ch’en’s description of a journey by boat on a moonlit night (“Shin-i yiieh shih-ssu yeh fa Nan-ch’ang yiieh-chiang chou hsing, Ssu-shou chih erh” H H revised from a version in Waiting for the Unicom, p. 350): The dew’s breath is like tiny insects, The force of the waves is like a bull couchant, Bright moon is like a cocoon of white silk, My boat on the river is enwrapped therein. m m d«h ’ m m m n *
°
In this quatrain of twenty words the poet employs three extravagant, if not bizarre, similes, but what particularly catches the reader’s attention is the word kuo M., “to wrap” or “to envelope.” This word had never before been associated with “moonlight” in poetry. The result is a kind of “cragginess” or “severity” (denot ed by the word ch’iao |l$j) of diction, deliberately achieved and yet leaving no trace of the poet’s deliberateness. This approach adheres closely to what is regarded by the Chiang-hsi poets as the highest achievement in poetry, the socalled “unregulated” or “unconvention al” style (ao-t’i $frfS). Ch’en San-li’s success in writing this kind of poetry won enthusiastic endorse ment from many contemporaries, such asShenTseng-chih i f c t ® (1850-1922), Fan Tang-shih (1854-1904), Mo Yu-chih (1811-1871), and the poet-critic Ch’en Yen Piftx (1856-1937), as well as from his followers, such as
Cheng Hsiao-hsii M & W (1860-1938), C h’en Pao-shen W M M (1848-1935), Li Hsiian-kung (1876-1966?), and Tseng K’o-tuan ml&Wi (1900-?). The last five poets were all natives of Fukien, where the influence of the T ’ung-Kuang School was particularly strong. C h’en San-li was fortunate in being survived not only by a sizeable group of talented younger contemporaries but also by sons, all of whom excelled in poetry and scholarship. The eldest, C h’en Heng-k’o W ffifc (1876-1923), composed some poems which a critic claimed were indistinguishable from those of his father; Heng-k’o was also a painter and an art historian. The best know n of C h’en San-li’s five sons, however, was C h’en Yin-k’o PiUCt§ (1890-1969), an em inent Sanskrit scholar, authority on Buddhism, and literary historian whose death during the Cultural Revolution had a devastating impact on modern Chinese scholarship. Editions and References San-ytian ching-she shih (Poems from the San-yiian Studio); San-yiian ching-she shih pieh-chi (Supplemental Poems from the San-yiian Studio). Shanghai: Commercial Press, 1909 and 1922 respectively; both reprinted in 1 volume as San-yiian ching-she shih (Taipei: Taiwan Commercial Press, 1962). San-yiian ching-she wen-chi (Prose Writings from the San-yiian Studio). Shanghai: Chung-hua Book Company, 1949; rpt. Taipei, 1961. San-yiian ching-she shih-chi (Collected Poems from the San-yiian Studio). Taipei: Taiwan Commercial Press, 1961. A reproduction of Ch’en Sanli’s poems written from 1909 to 1926 in his own calligraphy. Translations Waitingfor the Unicom, pp. 350-2. Studies Ch’ien, Chi-po “Ch’en San-li.” In Ch’ien’s Hsien-tai Chung-kuo wen-hsiieh
shih 4th ed. Shanghai, 1936; rpt. Hong Kong: Lung-men, 1965, pp. 209-245. An overview of Ch’en San-li and the school of poets which attached itself to him, chiefly Ch’en Yen and Cheng Hsiao-hsii both from Foochow. Ch’ien, Chung-lien Ming-Ch’ingshihwen yen-chiu ts’ung-k’an flj. First series. Soochow: Chiang-su Shihyiian, 1982, pp. 188-96 (three separate articles on Ch’en San-li, Ch’en Yen, and the T’ung-Kuang Style). __ . “Lun T’ung-Kuang t’i” Ira[o]7^ if. In his Meng-t’iao-an Ch’ing-tai wen-hsiieh lun-chi .Tsinan: C h’i-Lu Shu-she, 1963, pp. 111-34. Republican China, 1:225-8.
Irving Yucheng Lo Ch’eng-kung Sui (231-273, tzfi, Tzu-an ■?§?), was from Pai-ma 0 H prefecture in the Eastern Commandery M W (east of modem H ua /if county, Honan). H e was an accom plished scholar and poet of the Western Chin, best known for his fit ® (prose-poems, rhapsodies).* His biography in the “Wen-yiian” (Garden of Literati) section of the Chin shu J f H (92:2371-75) is almost entirely taken up by complete versions of two of his fu , and little information is provided about his life. He is described almost iconographically as showing great intelligence w hen young and being well-read in the classical literature. Although growing up in im poverished circum stances, he strove not for riches and fame, b u t for personal quietude. W e are told that his poetic writings were polished, yet he did not seek to make them known. They were not highly regarded until they came to the attention of Chang H ua (232-300),* who recommended C h’engkung in 255 to serve as erudite {po-shih ISfdr) in the W ei i t M inistry of Ceremony (T ’ai-ch’ang A S ) to which he himself had recendy been appointed. O ther information tells that despite
C h’eng-kung Sui’s talent in writing, especially of fu , he had a severe speech im pedim ent that compelled him to respond to rapid questions in writing. After entering official service, Ch’engkung Sui later served for a time (probably ca. 260-62) as Assistant in the Palace Library (Mi-shu lang IfrHJiP), rising to the position of vice director (ch’eng z£). Between August 264-February 268, C h’eng-kung, then com m andant of cavalry (ch’i tu-wei IttPW ), assisted in the large-scale revision of the corpus of laws and penal codes undertaken by a commission of fourteen persons under the supervision of Chia C h’ung (217-282); this would become the code of laws for the Chin, whose rule began in February, 266. In 269, as Attendant Gendeman in the Secretariat (Chung-shu shih-lang C h’eng-kung was commanded along with Chang Hua and others to compose dynastic ritual hymns for use in imperial ceremonies; Ch’engkung’s extant compositions include a suite of fifteen songs to be sung at dawn convocations, and one song toasting to the em peror’s longevity. C h’eng-kung Sui spent nearly all his career associated with the court; his highest office was that of chief compiler [chu-tso lang IP). His one posting outside the capital was as Prefect (ling ■§) of Ch’ang-an (M :2c) in Lin-hai commandery (about 40 miles southeast of modern Lin-hai County, Chekiang), where it is said that he composed a “Yiin fu” B R (Fu on Clouds) while gazing at the river from his offices atop the C h’ih-lan Bridge. The collected literary works of C h’eng-kung Sui, am ounting to ten chiian, were intact at least through the T ’ang. Previous to his first official appoint m ent under the Wei, Ch’eng-kung Sui had composed a eulogy for Ssu-ma I iO USS (178-251); grandfather of the first Chin emperor), and a fu on the crow (inspired when die auspicious bird nested at his residence). It is likely that he had
also by then composed his ambitious “T’ien Ti fu” Jztikw , (Fu on Heaven and Earth), one of the two fu contained in his biography. Ch’eng-kung composed this fu because no one before him had undertaken to extol in w riting the splendor of the cosmos. It is a tightly woven composite of astrological, geo graphical, and mythological lore. The other piece contained in his biography is his “Hsiao fu” HfK (Fu on Whistling), a description in musical terms of the mystical Taoist breathing technique hsiao IS®. This is the most celebrated of Ch’engkung Sui’s writings, and was chosen for inclusion in the Wen-hsiian 3CW* (chiian 18). Ch’eng-kung may have composed this fit ca. 263, during a stint in the secretariat. The piece blends a flowing description of the hsiads melodic sound, with die lore associated with the art of whistling. While C h’eng-kung himself apparently experim ented w ith the arcane technique, he probably modeled the protagonist of his fu on the most renowned whistling adept of his time, Sun Teng Sun lived as a recluse in the Su-men H F I Mountains, not far from C h’eng-kung’s hom e in m odern Honan, and has been immortalized by the often related anecdote in w hichjuan Chi M m (210-263)* encounters Sun’s mystical, majestic whistle. W hile only the two fu contained in Ch’eng-kung’s biography in the Chin shu have been preserved intact, portions or quotations are extant for twenty-two others that he composed. Among other topics, he wrote about musical instruments, the Yellow River, the writing brush, birds, flora, and insects. C h’eng-kung Sui was widely praised by his contemporaries (especi ally by Chang Hua) and later literati for the excellence of his fu . Lu Yiin H ilt (262-301),** a younger contemporary, wrote to his brother Lu Chi (261-301)* that while Chi’s literary prose was superior to that of Ch’eng-kung Sui, his fu were not. And Liu Hsieh §!]$S (ca. 465-ca. 522) in his Wen-hsin tiao-lung
> m m * also cited Ch’eng-kung’s fu as having made significant contributions to the genre. Nevertheless, by the end of the M ing m ost of C h ’eng-kung’s compositions were no longer extant, and Chang P’u WcM (1602-1641), compiler of the remains of Cheng-kung’s works, com m ented that he preferred the prefaces to Cheng-kung’s fu to the fu themselves. In addition to fu and ritual hymns, parts of a number of composi tions on a variety of topics also exist; among others, these contain a piece on clerical script (which properly should be considered a fit), a treatise on the money god, praises to the chrysanthemum, an admonition to fire, five poems, and a piece in the popular genre known as “Sevens” (see Cfc’i-fc**). Editions and References Ch’eng-kung Tzu-an In Pai-san (chiian 21). Liu-ch’ao wen, 59:la-10b Lu, Nan-pei-ch’ao shih, 1:584-585; 2:823-824. Translations Knechtges, Wen xuan, 3:314-323. Mair, Anthology, pp. 429-434. von Zach, Anthologie, 1:258-261.
Alan Berkowitz Swarthmore College ch’i - t (sevens) is a designation for a genre initiated by Mei C h’eng’s tfxM. (d. 141 B.C.)* “C h’i fa” - t m (Seven Stimuli). All of the ch’i pieces of later generations w ithout exception are modeled on Mei’s work. The ‘Seven Stimuli” is constructed in the form of a dialogue between a guest from the state of Wu zik and a prince of the state of C h’u £1, a well-known convention in the fu * tradition. The poem opens with the prince suffering an illness resulting from his extravagant life at court. A persona of Mei Ch’eng himself who was a native of the Wu area, the guest appears to have a deep understanding of medi
cine and volunteers to diagnose the prince. Like a doctor, the guest first inquires of the prince’s condition and then gives a detailed description of his symptoms and their causes. He points out that long-term overindulgence in physical comfort is the major source of the prince’s illness. He cautions that the prince cannot be cured by herb, cauterization, or acupuncture, but only by listening to the “essential words and marvelous doctrines” of the sages. After the prince agrees to his suggestion, the guest proceeds to present six most fascinating allurements in the world, including the best zither music, gustatory delicacies, thoroughbred horses, a journey to a scenic spot accompanied by most learned men of letters and the most beautiful ladies, a royal hunt, and a spectacular view of the tidal bore of the Ch’ii-chiang (modem Yangchow, Kiangsu) River. At the end of the elaborate description of each enticement, the guest asks the prince if he is able to rise from his sickbed to enjoy it. The answer is of course always negative since the prince feels powerless to carry out such activities. However, after he hears ab o u t the sixth enticem ent-the tidal bore-signs of recovery suddenly appear on his face. This critical step prepares him for the seventh and the last enticement, the “essential words and marvelous doc trines” which eventually heal him. It is interesting that Mei Ch’eng pours all his eloquence into the previous six enticements, while summarily treating the “marvelous doctrines” by merely referring to the sages who uttered them: Confucius, Mencius, Chuang-tzu, Yang Chu Mo-tzu, and other Taoist philosophers. The m ost conspicuous rhetorical aspect of the “Seven Stimuli” is the “extended doubled persuasion” (see Knechtges and Swanson in Studies below). On the one hand, the guest points out that the prince must temper his own
immoderation in sensual pleasures to remove the root of illness, while on the other hand, he uses these same sensual pleasures as enticements to persuade the prince. Given two alternatives, the prince m ust chose but one. As soon as he chooses the first, he is cured. Similar techniques were employed in the Chanku o ts’em m w ..* In terms of form—a “seven”-M ei Ch’eng’s work is the earliest extant example. Although some pieces had earlier been entided ch’i (sevens) or chiu f l (nines), they differ from M ei’s “Sevens.” For example, the “Ch’i-chien” -fcM (Seven Remonstrances), the “Chiuhuai” ftU ! (Nine Regrets), and the “C hiu-t’a n ” (N ine Lam ents) collected in the Ch’u-tz’u H i?* all used numbers in their tides. However, these works all consisted of seven or nine indep en d en t piece, and were not holistically organized works like the “sevens.” Rather than tracing their origins to these numerical tides, the ch’i seems to be related to the fu K . In his Wen-hsin tiao-lung ^ L 'H i t ,* Liu Hsieh M M (ca. 46 5-ca. 522) treats the ch’i together with the tui-wen and lien-chu 3® ^ in the chapter on “miscellaneous writings” (tsa-wen H * ) The three genres are all influenced by the fu. The “Seven Stimuli” reveals its connection with the epideictic fii through its dialogue framework, num erous parallelism s, descriptive binomes (both alliterative and rhyming), extensive cataloguing, and hyperbole. Each enticement provides a perfect arena for the author to display his literary skill. The descriptions of the zither music and the tidal bore in the “Seven Stimuli” are so extraordinary that they became a model for many yung-wu pieces of later periods. Furthermore, the “Sevens” share an identical purpose with many of the H an epideictic rhapsodies: persuasion. In the Han, the representa tive writers, Ssu-ma Hsiang-ju $[] (ca. 179-117 B.C.)* and Yang Hsiung
M M (53 B.C.-A.D. 18),* whose works are representative of the long fit tradition, always aimed to persuade the ruler in their rhapsodies. In the ch’i, the authors without exception structure their work around a debate between two fictional characters, one of whom tries to persuade the other. Thus, the ch’i should be considered a subgenre of the fu. Over time the “Sevens” underwent transformations in form and theme. Originally intended to admonish a ruler to abandon his extravagant life-style, in later periods it became a common theme for an eloquent speaker to attempt to persuade a wise man in retirement to enter officialdom. Chang Heng’s izflttl (78-139)* “C h’i-pien” -b j# (Seven Debates), Ts’ao Chih’s W tt (192-232)* “C h’i-ch’i” (Seven Inspirations), and Chang Hsieh’s (d. 307) “Ch’iming” "bop (Seven Counsels) are the most famous examples of this type of ch’i. In all of these works, the protagonist is always a recluse who decides to withdraw from the dusty world. The persuader is someone who is reluctant to see a talented man remain unem ployed and detached from the court. He tries to present six kinds of worldly pleasure in order to rouse the hermit to reenter officialdom. But the first six enticements are usually fruitless, the critical moment always occurring in the seventh in which the persuader presents the ideal political world created by a (the current) sagacious Emperor. It is this last enticement of political perfection that convinces the recluse. Accordingly, the ch’i pieces in this category eulogize the current Emperor and his court. Since during the Han era many fu were meant to eulogize the ruler, this is another example of the ties between the two forms. T hroughout the Six D ynasties, although the seven allurements in ch’i may have varied, music, food, wine, women, w eapons, horses, hunting, architecture, and worldly accomplish
m ent were the usual subjects. In the T a n g and Sung, the ch’i underwent further transformation. Yiian Chieh j t (719-772)* employs the title in his ‘C h’i pu-ju” "b^f'5P (Seven I Am No Better Than), but totally overthrows ch’i conventions by claiming that he is no better than seven things: a child, sleeping at night, illness, drunkenness, silence, absence of desire, and plants. It is a completely personal piece that skillfully uses the ch’i structure. Another creative exam ple is Liu Tsung-yiian’s (773-819)* “Chin wen” (Asking about the Chin). Although not tided a ch’i, the seven answers to the guest’s question in the essay resembles the conventional ch’i form. This piece is based on a dialogue between Mr. Liu #P the host, and Master Wu ^ |, the guest. The seven passages described by Mr. Liu include C hin’s H geography/ topography, advanced metallurgy, great thoroughbreds, rich forests, abundant fish, fresh salt, and the impressive accomplishments of Duke W en of the Chin (r. 636-628 B.C.). Liu thereby uses the Chin to refer to his contem porary government and Chin’s strong points to imply his hopes for the T’ang regime. In the Sung, Ch’ao Pu-chih J if f * ! (1053-1110) seems to have been inspired by Liu Tsung-yiian to write a “Ch’i-shu” "CMt (Seven Narrations), seven lengthy passages portraying the famed landscape and distinguished personages of Hang chow. C h’ao’s work turns about the earlier convention of opposing reclusion to eulogize the pleasures of the eremitic life in Hangchow. Wang Ying-lin’s 3SJJS WU (1223-1296)* “C h’i-kuan” -fa® (Seven Spectacles) takes this a step further, turning the recluse into a persuader himself. In “Seven Spec tacles,” Mr. Tung-kuo successfully convinces the young, rich Mr. Nan-chou to become one of his disciples. Interestingly, one of the “spectacles” W ang describes is the philosophy of
Neo-Confucian masters such as Chou Tun-i m & M (1017-1073) and Chu Hsi (1130-1200). The only ch’i author in the Ming is Chin Shih $ 5 8 who wrote the “Han-mo Lin ch’i-keng” (Seven Changes in the Forest of Brushes and Ink). The seven items depicted are ele gant music, chess, calligraphy, painting, writing in general, the essays of the Eight Masters of T ’ang and Sung, and the Confucian Classics. By this time the genre, following general literary trends, had become a piece written by literati for literati. The C h’ing dynasty saw several notable ch’i, including Huang Tsunghsi’s (1610-1695)* “Ch’i-kuai” -fcfS (Seven Bizarre Things), Ling T’ingk’an “Ch’i-chieh” -fcrjR (Seven Warnings), H ung Liang-chi (1746-1809)* “C h’i-chao” (Seven Summons). Huang’s satirical piece takes the form of an essay that deals with seven corrupt practices among scholars. Ling’s work harkens back to Wang Ying-lin’s “Seven Spectacles.” This rhapsodic essay, based on a conversation between two scholars, elaborates a series of fields of scholarship (calligraphy and painting, refined literature, hum an nature, economy, and historiography) before finally focusing on the exegesis of the Confucian Classics. Hung combined the “Chao hun” J B (S u m m o n s of the Soul) and “Ta ch ao ” (The G reat Summons) from the Ch’u-tz’u 38|f* with the “Sevens.” He created a fictional character, Master Vacuous (K’ung-t’ung •5: PH3 :A) whose soul leaves his body, while his friend Sir Foolish (Yii-kung ® fe) climbs up a mountain to summon it back. Sir Foolish displays the usual five enticements-wine, delicacies, women, etc.-to little effect. His sixth allure is a demonstration that the current govern ment encourages scholarship and there are specialists in all the classics, histories, and major works of literature. Suddenly the soul of Master Vacuous appears. The
piece culminates as usual in its final allurement when Sir Foolish presents the erudite scholars he knows personally and their achievements. With this, the soul returns to the body of Master Vacuous. T he history of the “Sevens” is im pressive-this minor genre survived nearly two millennia. Its enduring life span must be related to its form which leaves much freedom for the writer’s imagination. Indeed, in each era were writers who modified the original form of the “Seven Stimuli” to create their own “sevens,” thereby demonstrating as well the tendency for different genres (especially m inor genres) to influence each other by sharing conventions and/or structures. Translations Frankel, The Flowering Plum, pp. 186-211. Mair, Victor H. Mei Chemg’s “Seven Stimuli” and Wang Bor’s "Pavilion o f King Teng,” Chinese Poems for Princes. Studies in Asian Thought and Religion, V. 11. Lewiston, New York: The Edwin Mellen Press, 1988. von Zach, Anthologie, 2:607-17. Studies Fujiwara, Takashi jS&MlRl. “‘Shichihatsu’ no shuji ni tsuite-sono rizumu to tenko” ~b V X A &. In Obi Hakushi koki kinen Chugoku bungaku ronshu Tokyo: Kyuko Shoin, 1983, pp. 39-55. Ho, Kenneth P. H. “The Seven Stimuli of Mei Sheng,” The Chu HaiJournal 11 (1980), pp. 205-16. Hsu, Shih-ying “Mei Ch’eng ‘Ch’i fa’ yii ch’i mo-ni-che” # , Ta-lu tsa-chih 6.8 (1953): 11-17. The most comprehensive survey of the ch’i pieces. Knechtges, David R. and Jerry Swanson. “Seven Stimuli for the Prince: The Ch’i-fa of Mei Cheng,” Monumenta Serica 29 (1970-71): 99-116. Scott, John. Love and Protest. London: Rapp and Whiting, 1972, pp. 36-48. Wu, Hsiao-ju £ / ] '» . “Mei Ch’eng ‘Ch’i fa’ Li Shan chu ting-pu” M- Wen-shih 2 (April 1963): 129-37.
Yii, Kuan-ying “Ch’i-fa chieh-shao” "bfl/l'iS, Wen-hsiieh chih-shih 10 (1959): 19-20. Jui-lung Su The National University of Singapore C h’in K u an (tzu, Shao-yu 'p W-, earlier tzu, T ’ai-hsii A lii, hao Hankou chii-shih also Huai-hai chii-shih 1049-1100), is invariably defined in the public imagination by something that almost certainly never happened: his having loved and married Su Hsiao-mei” M the littie sister of his friend Su Shih (1037-1101).* Although it is only a legend, probably from a Ming opera, the story dramatizes two facts: that C h’in Kuan was p art of the celeb rated circle of poets who surrounded Su Shih, and that his talents found their best use in tz ’u* lyrics of sentiment and romance. No matter how painstakingly scholars try to rehabilitate him as a serious political thinker and poetic chronicler of a genteel nation threatened by conquest, it is his carefully delineated, erotically charged yet decorous tz’u which have captivated most readers since his time. His strengths in other literary areas were of the sort that equipped him to produce extra power whenever he turned to writing tz ’u. If Northern Sung literature began as a contest between extreme ornamen tation (Hsi-k’un p o etry -see H si-k’un ch’ou-ch’ang chi M S P I I R * ) an d extrem e plainness (Liu K’ai 947-1000,** W ang Yii-ch’eng 3ESM , 954-1001,* and others); and if the next stage was dominated by three genera tions of writers who knew how to be ornamental when it was seemly, but leaned toward plainness and utility (Fan Chung-yen 989-1052,* Ou-yang Hsiu 1007-1072,* W ang Anshih 1021-1086,* and Su Shih), then Ch’in Kuan seems to have been
p art of a newer generation who still valued the plainness but did not cling to it, and allowed more florid emotion into their verse and prose. C h’in was born at Kiukiang, when his father was en route to a government post His home was at Kao-yu it5§§5, north of Yangchow on the Grand Canal. As a young man he probably supervised the family farm, and may have labored with his own hands. He lost his father at age 14 sui, married a local girl, Hsii Wen-mei at 19 sui, all die while studying for the examinations. H e read avidly from the arts of war during his early twenties, a time during which the prime minister W ang An-shih was promoting his New Policies, am ong them a redirecting of the civil-service examina tions from poetry and scholar-ship to the analysis of actual state affairs. Ch’in Kuan, steeped in shih* and fit, "retrained himself to write in the new style, but did not completely accept the new orthodoxy. H e had good connect-ions among moderate conservative thinkers. O ne of them, Sun Chtieh (10281090), who along with Ch’in’s father had been a student of H u Yiian $§38 (993-1059), helped introduce C h’in to Su Shih as early as 1074, when Ch’in was only 26 sui and Su only 39. Ch’in also went on outings with Su Shih’s friend Ts’an-liao-tzu and exchanged dozens of poem s with the socially prom inent C h’eng Shih-meng fMCTSn. (tzu, Kung-p’i &Sf, fl. 1062-1082). But he stayed in Kao-yu for most of his first 33 years. In 1082, at 34 sui, he failed the chin-shih, then took the long route home, visiting Su Shih in exile at Huangchou. W hen Su came out of exile two years later, he enthusiastically recom mended Ch’in Kuan to Wang An-shih, who read and praised C h’in’s writing samples, but was already retired and not much immediate use to him. Ch’in’s career, which started at 37 sui and lasted only fifteen years, coincided with the anti-reform party’s headiest
triumphs and harshest losses, as Wang An-shih’s New Policies met their demise and subsequent resurrection. C h’in obtained the chin-shih in 1085, the year in which the reformist Emperor Shentsu n g # 7 F (r. 1068-1085) died and the new Prime Minister Ssu-ma Kuang l»j l§ % (1019-1086) began to replace the entire program with his conservative agenda. This was the Yiian-yu reign (1086-1093) of the boy emperor Chetsung U tk under the Dowager Empress, and C h’in belonged to the dom inant “Yiian-yu Faction” nam ed for that era, perhaps as much by fate as by choice. Assigned to Ts’ai-chou (modern Ju -n an $Cj^f in southern Honan), he did not have a chance to join the restoration juggernaut in the capital until 1087, when Su Shih recommended him for the prestigious, rarely-offered Hsien-liang-fang-cheng (R & # IE , “Worthy, Frank and Proper”) decree examination which had made Su a celebrity twenty-six years earlier. Su probably guided Ch’in in the writing of his fifty examination essays, which still survive and are considered good. But Ch’in did not pass, and returned to Ts’aichou. The conservatives themselves were split: being Su Shih’s protege meant that Ch’in was treated as one of the “Shu 19 Faction” within the conservative movement, and thus subject to harass m ent by Ssu-ma Kuang’s followers in the “Loyang Faction.” In 1090, C h’in was summoned to a palace library position, in 1091 prom oted to proof reader, only to be impeached from that rank by Loyang-party censors. Fierce protests by Su Ch’e M M (1039-1112)* and others kept Ch’in from being further demoted or sent away. By 1093, Su Shih, H uang T ’ing-chien mIIIM (10451105),* C h’ao Pu-chih 1 1 ^ (10531110), Chang Lei « (1054-1114)** and Ch’in Kuan all served in the capital simultaneously for the first and only time; these Su-men Ssu Hsiieh-shih H n |I9 ® ± (Four Scholars at Su Shih’s Gate)
became an actual group. Ch’en Shih-tao K W H (1052-1102),* who had long been one of Ch’in’s staunch boosters, is often listed as a fifth disciple. This was a group bound by friendship and spiritual affinity; as writers they were too diverse to be a literary school. That year they faced a common threat, greater than that from the other conservatives: when the Empress Dowager died and Che-tsung (r. 1086-1100) took over the government himself, the regime reac tivated the reform policies, led this time by vindictive zealots. Purges began in 1094. “Su’s Scholars” were all sent away as punishm ent for various misdeeds, Ch’in Kuan first assigned to Hangchow, then Ch’u-chou Jt'j'l'l farther south, then Ch’en-chou tffWI (Hunan) in 1096, where he wrote an ode to the God of the Tungt’ing Lake and poems to Ch’ang-sha courtesans; next came Heng-chou (Kwangsi) in 1097, which inspired the tz ’u “Tsui-hsiang ch’un” WEMw (Spring in the Land of Drink); finally the dreaded Lei-chou ff'J’H (southern Kwangtung) in 1099, where he drafted his own funeral song and corresponded with Su Shih, who was across the water on Hainan Island in the deepest exile of all the Yiianyu officials. In 1100, when Hui-tsung W. took the throne and began calling back the exiles, Su Shih stopped at Leichou on his way north and saw Ch’in for the last time. Ch’in died that fall, it is said in a drunken doze; Su died the next year. Ch’in was rehabilitated post humously in 1102, but in 1103 the tide shifted, his name was inscribed on the infamous stone slab as one of 128 Yiianyu Partisans, and his works were banned. These names were not cleared again until 1130, under the Southern Sung. C h’in Kuan’s shih, numbering over 400, sort themselves roughly into three stages. Poetry from before he held office tends to appear in bursts of travel pieces, often written in conjunction with poems by his companions. His career in Ts’aichou and the capital produced an
appropriate mix of socially-aware and merely social verse. But the truly extraordinary pieces are the few dozen from his exile, complex because they combine a dark awareness of how serious his plight was, along with what seems to have been a genuine love for the landscape, fragrances and customs of the tropical south. Few other poets have written as evocatively about Kwangtung as Ch’in did. His stirring prose, admired during his lifetime, is less agile and surprising than that of his mentor Su Shih, and is not read as often. W ithout question, it is Ch’in’s tz ’u that will keep him famous. Ch’en Shih-tao supposedly said that while Su Shih wrote tz’u as if they were shih, Ch’in wrote shih that resembled tz ’u. Although that has been considered a backhanded compliment for Ch’in, if it was a compliment at all, and he has many shih for which it is not true, it can help us understand how he approached the writing of verse in general. His tz ’u offer titanic em otions veiled only partially by the nuanced language. He over favored the short hsiao-ling the longer m an-tz’u IHtH that Liu Yung (987-1053)* had used with such power, and his style is Wan-yueh (Delicate Restraint)** rather than Su Shih’s Hao-fang jEBc (Heroic and Unrestricted)**; but one could say that Ch’in wrote hsiao-ling on a monumental scale similar to the best quatrains, or that his style was Wan-yiieh “with muscle.” The hushed thrill of the urban demimonde pervades his lyrics. He wrote of dreams throughout his life. His m oods-sunny, petulant, bleak, flip, nostalgic-vary even more than those in Su Shih’s lyrics, and, unlike supposedly typical Sung poets, he seldom presents overt opinions. Instead he marshals the little words, chooses verbs meticulously, and guides the alert reader through minute twists of tone and m ental rhythms. He is a master at laying down conclusions just strong enough to let the
flavor waft past the final line. And, as with his shih, one can sense his tz ’u maturing in theme and technique, from the fully-conscious, verb-bedecked “Hills wipe the thinnest of clouds / Sky sticks to withered grasses. . . .” (\U W w ft ’ which opens an early “Man-t’ing fang” about parting lovers, down to the equally focused but far more somber second half of the “Tsui hsiang ch’un” w ritten on a clammy spring day deep in exile: . Gende smiles: final distillation from the Earth God’s jug / Are what that half-split coconut ladled up for you and me. / I found I was toppling. / Lunged in panic toward the bed - / For broad and spacious is the Land of Drink, unlike the litde universe of men” % ’ °mmm • • Critics have worried that Ch’in Kuan’s writing is not manly enough. Yiian Haowen tc£F[oJ (1190-1257)* defined the issue when he wrote of Ch’in’s “female diction” (fu-jen yii and “women’s verse” (nii-lang sAi'A;&J^i#)-phrases that haunt C h’in Kuan studies to this day, abetted sometimes by the Su Hsiao-mei legend. Even Ch’in’s sympathizers often point out overly subde weak spots which they feel his many passages of vigorous prose and sober ancient-style shih do not entirely make up for. His life-long involvement with women of the “Blue Houses” -including during every stage of his career and banishment-though it gave his tz ’u passion, authenticity, and indeed their very reason for being, does not help posterity place him as high in the pantheon as his talent might warrant, and his disappointing official resume diminishes him next to Su Shih or Ouyang Hsiu. It is largely his political sincerity, manifested in his essays on statecraft, that spares him from suffering Liu Yung’s talented-wastrel reputation. B ut C h ’en Shih-tao’s affectionate “Introduction to C h’in Shao-yu’s New Courtesy Name” (“Ch’in Shao-yu tzu
hsii” points the way to a useful p ersp ectiv e a b o u t C h ’in ’s character, by linking C h’in to the unquestionably m anly Tu M u tfcft (803-852),* who almost three centuries before had also poured out his heart in Yangchow pleasure-palaces, mastered the old military writings, and dreamed of saving the country. Ch’in emulated Tu Mu most of his life, interrupted only by a period of frustration and regret when he changed his tzu to Shao-yu in honor of the Later H an recluse Ma Shao-yu who had stayed on the family estate cultivating the art of contentment while his cousins fought the wars far away. Ch’en Shih-tao understood how Ch’in might feel frustrated, living as a defacto recluse with no advanced degree, under an incompatible regime; C h’en agreed that continuing to stay out of public life was an honorable option. But it was by far the easier option: so easy that a Ma Shao-yu, simply muddling through a recluse’s existence, had achieved more glory than Tu Mu ever attained with all his wit in the worldly arena, simply because Tu’s activist path inevitably offered m ore chances to stumble. C h’en was right that C h’in Kuan’s talent would soon pull him back onto that activist path, but was wrong in predicting that Ch’in’s career would outshine Tu M u’s. Factional struggles set Ch’in back just as they had Tu. But with both men, struggling for success only to meet with failure seems to have brought greater depth to their already complex minds. Depth and complexity, of course, are exacdy what literature needs, and they pervade Ch’in Kuan’s poetry. Exact labels for his other qualities will vary from one era to the next. Editions and References Ch’iian Sung shih, 18:1053-1068.1206312158. Ch’iian Sung tz’u, 1:454-486. Huai-hai chi SPTK and SPPY editions contain all works including tz’u. Serviceable but unannotated, and
collation is superseded by Hsii P’ei-chiin’s editions. Huai-hai chi chien-chu Hsu P’eichiin annot. 3v. Shanghai: Shang hai Ku-chi, 1994. This and the next work used together constitute the most definitive edition to date, and the only complete annotated collection of Ch’in’s works. Introductory essays, biographical and critical materials make these works even more useful. Huai-hai chii-shih ch’ang-tuan chu yffefS/grifc Hsii P’ei-chiin, annot. Shanghai: Shang-hai Ku-chi, 1985. Most complete collection of Ch’in’s tz’u, annotated with biographical material and thorough discussion of textual history; appends a chronology of Ch’in’s tz’u. Huai-hai chii-shih ch ’ang-tuan chii. Rpt. Hong Kong: Longman, 1965. Facsimile of Sung edition printed at Kao-yu. Huai-hai tz’u chien-chu Yang Shih-ming annot. Chengtu: Ssuch’uan Jen-min, 1984. “Huai-hai shih-chu, fu tz’u chiao-chu” #£7® Hsu Wen-chu ffcfcflft, annot. In T’ai-wan Shih-ta kuo-wen chi-k’an (1968.6): 1-194. Ts’an shu m m . 1 chiian. Treatise on silkworms, attributed to Ch’in Kuan, but possibly written by one of his sons. Most accessible edition may be in Chih-pu-tsu Chai ts’ung-shu Translations Liu, Lyricists, pp. 99-120. Mair, Anthology, p. 329-332. Strassberg, Inscribed Landscapes, pp. 199204. Studies Chin, Shih-ch’iu Ch’in Kuan yen-chiu tzu-liao Tientsin: T’ienchin Ku-chi, 1988. Chiu, Chai &M . “Huai-hai chi-chien ch’angpien” T’ung-shengyiieh-k’an 3.9 (1943.11): 1-28. Chu, Te-ts’ai “Ch’in Shao-yu ti ‘Fuya kuei-tsung’ IS , Wenshih-che 178 (1987.1): 55-61. Hsii, P’ei-chiin “Ch’in Kuan tz’u nien-piao” in Huai-hai Chiishih ch’ang-tuan chii Shanghai: Shang-hai Ku-chi, 1985.
Advocates a different set of dates (10491105) for Ch’in Kuan. Josephs, Hilary. “The Tz’u of Ch’in Kuan (1049-1100).” Unpublished Ph. D. dissertation, Harvard University, 1973. Liang, Jung-jo 3=r- “Ch’in Kuan ti shengp’ing yii chu-tso” ft, Shu hojen2l0 (May, 1973): 5-8. Lin, Yutang #§§'§£. “Su Hsiao-mei wu ch’i jen k’ao” , Chung-yangjihpaofu-k’an (March 26,1952). Also Chuang Lien jfEJSfi, “Kuan-yii Su Hsiao-mei” US in Ibid. (January 29, 1969), and Lin Yutang, “Ta ^ Chuang Lien ‘Kuan-yii Su Hsiao-mei,” Ibid. (February 5, 1969). Nakata, Yujiro “Shin Waikai shibun nenpo” Shinagaku 10 (1942): 399-436. Wang, Ch’u-jung “Ch’in Shao-yu Hsien-sheng nien-p’u” Chung-hua hstteh-yiian2 (1968): 136-168. Wang, Pao-chen Ch’in Shao-yu yenchiu^'p'W d}%• Taipei: Hsiieh-hai, 1977. Yii, Chao-i ^PSIfq. “Ch’in Kuan yii Huang T’ing-chien” * « 2 li?t£ S S , Wen-hsiieh shih-chieh 36 (1962.12): 60-66. Jonathan Pease Portland State University Chiu-seng t ’i fiM W t (Nine Monks Style) is the name given to the poetic style which continued the so-called “Late T ’ang Style” in the Five Dynasties and early Sung dynasty, especially in the works of the “Nine Monks.” “Late T ’ang Style” is a misleading label, since by it these poets meant the verse of a number of rather minor ninth-century poets like Chia Tao S U (779-843)* and Yao Ho (775-ca. 845), and not the poetics of major late-T’ang poets such as Li Shang-yin (ca. 813-858) and Tu Mu (803-852).* This style can first be seen in the writings of two poets of the Five Dynasties, Liu Tung (novels of adventure and detection), and ch’ien-tse hsiao-shuo a tJ t (novels of exposure)—have been used by scholars for over half a century. Ah Ying’s Wan-Ch’ing hsiao-shuo shih (A History of Late-Ch’ing Fiction, 1937) is perhaps the most comprehensive and influential study of late-Ch’ing fiction as seen on the eve of the Second W orld War. H e provides abundant information regarding the political circumstances, socioeconomic motivations, and ideological factors that gave rise to late-Ch’ing fiction. In his Hsiao-shuo hsien-1’an /h §#,fJflM (Idle Talks on Fiction) series, Ah Ying wrote extensively about works he discovered or took personal interest in. A leftist ideologue, Ah Ying made it clear that the most important virtue of late-Ch’ing fiction lay in its reflection of a society on the eve of revolutionary change, its critique of social evil, and its propagation of progressive ideals. To this list of studies of late-Ch’ing fiction one should also add
works by modern scholars such as Chao Ching-shen M S ® , K’ung Ling-ching ? l L i u Ta-chieh (19041977), and others. Although scholars agree that lateCh’ing fiction represents one of the most drastic changes in Chinese narrative tradition, they are quite am bivalent about its aesthetic achievement. Their criticisms fall mostly in the following three areas. First, arising in the shadow of late-Ming to mid-Ch’ing fiction, after the peak of classical Chinese narrative, late-Ch’ing fiction displays an aesthetic inferiority in terms of both formal expertise and thematic sophistication. Second, m otivated by contem porary socio-political forces, late-Ch’ing fiction writers of fiction have been criticized by modern humanists for tending to ignore the broader context of “human” experience, of which socio-political turmoil is only a part. Alternatively, Marxist critics have berated late-Ch’ing fiction for not having enough foresight and courage to show socio-political turm oil leading to freedom and revolution, despite writers’ increasing awareness of the relation betw een writing and national destiny. W hether too political or not political enough, lateCh’ing fiction is seen as handicapped by its superficial grasp of social reality, a flaw that in turn affects its artistic merit. Finally, because of its artistic crudity and h isto ric a l/id e o lo g ica l sh o rt sightedness, late-Ch’ing fiction is said to have contributed little to the formation of truly modern Chinese fiction. For all the translations of Western and Japanese literature available in the marketplace, and writers’ efforts at honing their skills on foreign models, late-Ch’ing fiction retains firm links to traditional fiction. Modern Chinese fiction could not arise until w riters finally m astered the narrative devices, thematic topoi, and image repertory of the West. Late-Ch’ing fiction is thus a momentary diversion preceding the arrival of the next great
beginning-nam ely, the May Fourth literary revolution. Based on these observations, lateC h’ing fiction conventionally begins with Yen Fu and Hsia Tseng-yu’s I s iti (1886-1924) “Pen-kuan fu-yin shuopu yiian-ch’i” (An nouncing O ur Intention to Publish a Supplementary Fiction Section, 1897), arguably the first piece of criticism to affirm the social function of fiction in modern times. In response to Yen and Hsia’s view of fiction, Liang’s “I-yin cheng-chih hsiao-shuo hsii” (Foreword to Our Series of Political Novels in Translation, 1898) introduced the political novel, a genre Liang believed responsible for the success of the Japanese Restoration, as the type of fiction that would most benefit China. Liang’s prom otion of the political novel was later substantiated by his founding of Hsin hsiao-shuo and the publication of the inaugural essay, “Lun hsiao-shuo yii ch’iin-chih chih kuan-hsi” (On the Relation between Fiction and Ruling the Public) and his own novel, Hsin Chung-kuo wei-lai chi (The Future of New China), in 1902. The essay opens with the famous passage that affirms the didactic role of fiction and its positive political and moral consequences, and concludes that to renovate morality, religion, manners, learning and the arts of China, one “must first renovate fiction . . . Why? It is because fiction exercises a power of incalculable magnitude over mankind.” Similar statements can also be found in essays by contemporary literati likeT’ao Yu-tseng (1886— 1927), W ang Chung-ch’i I (18801913), Su Man-shu P # ^ (1884-1918), and numerous magazine and newspaper editorials. A lthough critics such as Huang Mo-hsi JfJlSffi (1866-1913) and Hsii Nien-tz’u (1875-1908) had already voiced skepticism in the heyday of the “new fiction” fever, the conviction that fiction could and should serve as
the foremost medium of enlightenment was apparently endorsed by the thenelite and by literary historians ever since. This account of the “rise of new fiction” has continually been challenged in recent years as a result of shifted critical paradigms and discoveries of new materials. Motivated by the discourse of enlightenm ent and revolution, conventional May Fourth scholars credit the “new fiction” as the sole late-Ch’ing contribution to literary modernization. But it is a rare piece of “new fiction” that hasn’t been “contam inated” by undesirable genres. A quick glance at the oeuvre of late C h’ing shows that, for every item of desirable “new fiction,” there appear all too many undesirable counter-examples, works later to be called depravity novels, hei-mu (literally, “black screen”) novels, chivalric romance, fantasy, and so forth. The target audience of “new fiction” was the general public; yet according to the estimation of Hsii Nien-tz’u, Liang Ch’ich’ao’s contem porary, the com m on people constituted no m ore than ten percent of its total readership. Moreover, Liang never finished his own model of new fiction, Hsin Chung-kuo wei-lai chi; the novel starts with a promising scene about the strength and prosperity of future China, only to come to a sudden halt after Chapter 5. In picturing the development of late-Ch’ing fiction, one should always be alert to the gap between what the writers and critics thought they had achieved and what they really did, what the elite expected their readers to like and what their readers actually read. Liang C h’i-ch’ao’s prestige as the champion theoretician has also been reassessed in the face of the increasing appeal of works by W ang Kuo-wei I IS,It (1877-1927),* a scholar of classical literature and a conservative royalist who committed suicide for the Ch’ing in the Republican era. O f W ang’s critical studies the best known is his 1904 treatise on the classic novel Hung-lou meng.
Inspired by Schopenhauer, Nietzsche, and Kant, Wang sees in the Chinese ro m a n c e a m o st c o m p e llin g dram atization of the eternal tension between desire and the object of desire, betw een hum an suffering and the sublimation of that suffering in art. He fits W estern theories into a radical reading of Chinese classics, thus adding a new, Chinese dimension to what we understand as m odem criticism. Liang Ch’i-ch’ao brandishes the banner of “new fiction,” but the core of his literary conception is old Confucian didacticism. W ang Kuo-wei recommends classical Chinese fiction, but at the center of his literary thought is something very new. In practice, traditional scholarship on the late-Ch’ing has mostly concentrated on the “four great novelists,” Liu E ill m (1857-1909),* Wu Chien-jen, Li Poyiian, and Tseng P’u lH!Si (1872-1935).* Each is credited with one of the “four great novels of the late Ch’ing” Liu E’s Lao Ts’an yu-chi (The Travels of Lao Ts’an, 1906) features a traveling literatus-doctor, Lao T s’an, through whose lonely adventures within natural and human landscapes, his wanderings amid different social milieux, and his debates with friends on political and philosophical issues, a fresco of lateCh’ing society is presented. Wu Chienjen ’s Erh-shih-nien mu-tu chih kuai-hsien chuang {1910), deals with a young man’s initiation into a society devoid of any m oral scruples and his subsequent withdrawal from it. The novel appeals to readers, nevertheless, more as a grotesque parade of clowns, impostors, buffoons, and frauds, all reveling in a world turned upside down. Equally farcical in scope and sarcastic in tone is Li Po-yiian’s Kuan-chang hsien-hsing chi (1905), a novel ridiculing the late-Ch’ing officialdom where bribery, mismanage ment, and the buying and selling of posts are routine. Tseng P’u’s Nieh-hai hua M (A Flower in the Sea of Sins, 1905) recounts the last three decades of late-
C h’ing history from the angle of the merry adventures of Sai Chin-hua Ifc (1874-1936), a courtesan best rem embered for her marriage to the scholar-diplom at H ung C hun (1840-1893) and her alleged liaison with the G erm an field-m arshal Count Waldersee (1832-1904), the commander -in-chief of the Allied Occupation Forces in Peking after the Boxer Rebellion. All four of these novels, as Lu Hsiin would have it, fall into the category of ch’ien-tse hsiao-shuo, or novels which expose and chastise social malaise. By stressing these novels’ capacity to reflect and criticize reality, critics in the vein of Lu Hsiin call attention to the moral bearings of late-Ch’ing writers, and as such these critics reveal their fixation on the May Fourth discourse of critical realism, which is uncannily indebted to Liang Ch’i-ch’ao’s reactionary criteria for the “new fiction.” Against such an approach, recent studies have provided more independent views of the novels. Accordingly, Lao Ts’an yu-chi is more noticeable for its expression of subjective, lyrical sensibilities and its inquiry into the terms of legal justice and poetic justice. Both Kuan-chang hsienhsing chiaxid Erh-shih-nien mu-tu chih kuaihsien chuang draw attention to the experiments of late-Ch’ing writers with the effect of the real in either grotesque or fantastic terms. And Nieh-hai hua sheds im portant light on late-Ch’ing male imagination of the dialectic between eroticism and politics. The eminence of “the great four novels” has also obscured other equally noticeable achievements by writers such as Wu Chien-jen and Li Po-yiian. Unlike Liu E and Tseng P’u, whose reputations were each based on a single work, Wu and Li were versatile, prolific writers, with long lists of novels to their credit. In particular, Li Po-yiian’s Wen-ming hsiao-shih (Modem Times, 1905) provides one of the most poignant portraits of China’s frustrated an d h ila rio u s e x p e rie n c e s in
confrontation with modem imports from the West. Wu Chien-jen’s Hsin Shih-t’ou chi IffSsSsB (The New Story of the Stone, 1905) represents an intricate parody of Ts’ao Hsiieh-ch’in’s* Shih-t’ou chi, or Hung-lou mengjSM^W* in recourse to the newly acquired mode of science fiction. Wu’s Hen-hai‘\fsiM (Sea of Regret, 1906) reinterprets the ts’ai-tzu chia-jen 7t -p££A or “scholar-beauty” conven tion (see Ts’ai-tzu chia-jen hsiao-shuo against the late-Ch’ing historical back ground, there-by anticipating the rise of modem Chinese sentimental discourse. Beyond the generic boundaries of the “four great novels,” one encounters a panoply of works ranging from detective fiction to science fantasy, from erotic escapades to didactic utopias. These works experimented with a wide range of narrative formats unknown to writers of previous ages; ironically enough, they would find few successors in the decades immediately following. Most noticeable are works along the lines of science fantasy. A mixture of both western m odels of science fiction and the indigenous legacy of fantasy, science fantasy once won enormous popularity among readers with its wide spectrum of subjects: the adventure in utopia or dystopia, the flight to the moon or the sun, the odyssey among the stars or planets, and the expedition to the center of the earth or the bottom of the sea. In Huang-chiang Tiao-sou’s (The O ld M an W ho Fishes the Deserted River, identity otherwise unknown) Yiieh-ch’iu chih-min-ti £} (Moon Colony, 1904), Chinese emigrants at the turn of the century are seen as trying to sail to the moon in balloons. In Hsii Nien-tz’u “Hsin Fa-lo Hsien-sheng t’an” (New Account of Mr. Windbag, 1905), a story modeled after th e G erm an leg en d of B aron Munchhausen, Mr. W indbag takes an adventure to outer space and lands on Venus and Mars. In Pi-ho-kuan Chujen ’s I t i n j I i t i A (Master of the Azure-
lotus Lodge, id en tity otherw ise unknown) Hsin chi-yiian §rlS7C (New Era, 1908), China emerges as the super power of the year 2000 after launching a world war against the nations of Europe. By imagining and inscribing the incredible and the impractical, lateC h’ing writers were setting forth the terms for China’s modernization project, both as a new political agenda and as a new national myth. Finally, breaking away from the limited time span constituted by the four great novels and the last decade of the Ch’ing dynasty, recent scholarship has looked m ore carefully into works produced in the second half of the nineteenth century and drawn a more com plicated picture of late C h’ing fiction. Han Pang-ch’ing’s Hai-shang-hua lieh-chuan, a panoramic presentation of life in the Shanghai pleasure quarters, investigates to chilling depth the moral and psychological consequences of courtesans’ lives. It signals the final triumph of indigenous realism before imported realism became the canon of m odem Chinese narrative. Wei Hsiuje n ’s (Wei Tzu-an 1819-1874) Hua-yiieh hen ^ IK (Traces of Flower and Moon, 1858), develops a m audlin rom an ce aesthetic th at inculcates linkages between love, death, and tears, prefiguring the sentimental strain of m odem Chinese Yiian-yang hutieh (M andarin Ducks and Butter-flies) fiction. Ch’en Sen’s W-M- (ca. 1796- ca. 1870) PHn-hua pao-chien n h lt USm (A Precious M irror for Judging Flowers, 1849), allegedly the initiator of a whole chain of late-Ch’ing stories about prostitution, describes the liaisons between female impersonators and their patrons. It parades and parodies the conventions of Chinese erotic and sentimental fiction and posits them in the new light of gendered subjectivity and desire. Shih Yu-k’un’s (1810-1871) San-hsia wu-i (1879),* based on the story
telling cycle about the adventures of the imperial judge-investigator, Pao Kung (Judge Pao), with the assistance of a group of chivalric knights-errant, won trem endous popularity am ong lateC h’ing audiences. The novel has been denounced as obsolete for its advocacy of feudal issues such as loyalty, sworn brotherhood, and heroic self-sacrifice. But close reading indicates that it served as the unlikely model for progressive writers when the time came for them to im agine such “m odern” virtues as patriotism, revolutionary fraternity, and (ca. humanist altruism. Wen K’ang’s 1798-1872) Erh-nii ying-hsiung chuan JHL (A Tale of Lovers and Heroes, 1872), casts a nostalgic look at the declining system of Confucian values and chivalric codes. Yii Wan-ch’un’s H # (1794-1849) Tang k ’ou-chih, a critical rew riting of Shui-hu chuan, intensifies the ambiguous political ideology of loyalism in the original novel. W ritten over a long period from the 1820s to the post-Opium W ar era, the novel anachronistically rehearses the new debates over imperial mandate versus popular will, W estern military technology versus Chinese military prowess. O ne more word about the dispute over the formal inefficacy of late-Ch’ing fiction. Few readers will want to deny that a kind of degradation happens to the gram m ar of C h’ing narrative: redundancies in plotting, shallowness in characterization, and fragmentation in structure. This was a time many literati m ade fiction-w riting th e ir sole profession, but they were a group of most “unprofessional” writers: they hurried to get their stories into print but rarely finished them; they pursued one new international topic after another, only to expose their deep-seated parochial ism; they fabricated, plagiarized, and sensationalized their materials; they reached into every social stratum for realistic data, but ended up with an
idiosyncratic display of bias and perversity. Granting all these flaws, one must recognize that in late-Ch’ing fiction, familiar conventions and canons are made strange, and decorums parodically humbled. Late-Ch’ing writers have also been described as incapable of grasping W estern m odels and thus inevitably failing to reach the threshold of the m odern. T h eir M ay Fourth successors did grasp, acquire, and impose a W estern m odel (nineteenthcentury realism), and in so doing pulled China back from the threshold of the modern. Like the m oderns, the late Ch’ing relentlessly appropriated, mock ed, and misrepresented the old conven tions, in ways that would have been exciting and new to the West, had they not been suppressed. Lu Hsiin once observed, of the changing style of the courtesan novel, that “at its first stage, it fails due to an excess of praise (for the courtesan life). . . at its last stage, it fails due to an excess of condem nation (of it).” Lu Hsiin’s words can be used to describe other genres of late-Ch’ing fiction as well. Praising or condemning, exaggerating or trivializing their subjects, late-Ch’ing writers cannot resist the impulse to trans gress limits, to ornam ent a convention till it becomes a heavy-handed parody of itself. The tendency of late-Ch’ing writers to play with conventions is especially evident in the way they parody classic novels. Almost all major Chinese novels, from Hsi-yu chi* to Feng-shenpang find one or more rewritings and sequels at this time. Because of its tremendous popularity, Hung-lou meng was rewritten as a homosexual romance (PHn-hua pao-chien 1849), a brothel adventure (Ch’ing-lou meng [The Dream of the Green Chamber, 1878]), a science utopia (Hsin Shih-t’ou-chi iff5 SMtE [The New Story of the Stone]), and a novel with the same tide about overseas students (Hsin Shih-t’ou chi [The New Story of the Stone, 1909—also identical
in title with the novel by Wu Chien-jen], by Nan-wu yeh-man [The Wild Barbarian from Nan-wu]). This libertinism is seen not merely in the writers’ choice of linguistic and narrative models, b u t also in their attitude toward the discursive restraints handed down from the past. Some w riters are so fam iliar with the conventions that they can play with them to the point of creating a chiasmatic replica, a hallucinatory mimicry. Thus Liu E’s Lao Ts’an yu-chi inverts the tenor of the court-case novel (kung-an hsiaoshuo by declaring that corrupt judges may be hateful, but incorruptible judges are even more hateful; Li Poyiian’s Kuan-chang hsien-hsing chi suggests that incorruptible governmental officials are no more virtuous than prostitutes who call themselves virgins; Wu Chienjen’s Erh-shih-nien mu-tu chih kuai-hsien chuang likens the human world to that of goblins, fox spirits, and demons; Tseng P’u’s Nieh-hai-hua endorses the myth of China saved from the invading armies of the West by a prostitute. Austere critics of the late-Ch’ing and the May Fourth period have not been able to appreciate the libertinism in lateC h’ing fiction except negatively, by deploring it. Few of them have thought about the possibility that late-Ch’ing fiction had a different kind of aesthetic. In the early 1980s, the Czech scholar Milena Dolezelova took on the task, investigating a formalist typology of lateCh’ing fiction. She proposed “string-like novels” and “novels of cycles” as the binding structural rules of the period. From a different angle and a few years later, the modem-Chinese scholar Chen Pingyuan [Ch'en P’ing-yiian] presented a newly complicated picture of the way in which late-Ch’ing writers responded to their literary heritage and Western inventions. Contrary to the idea that this was a period of stagnation or mere “transition,” Chen argues that lateCh’ing fiction writers drew material from
both the “noble” genres-such as the lyric, the political treatise, oratory, and essays, and the petty genres, such as anecdotes, sketches, jokes, travelogues, memoirs, and diaries-and incorporated them into their new discourse. At a time when the Western models of the m odem had not become a totem and certain m ore obvious Chinese traditions had not become a taboo, when “serious” writers were not overwhelmed by th eir m oral obligations and “frivolous” writers were allowed to express their own peculiar “obsession with China,” late-Ch’ing fiction made itself a m arketplace w here a full polyphony of hum an voices could clamor and be heard. W hen reading works of the period, therefore, one must continually ask oneself whether they are fin-de-sifale spectacles, entropic signs of a moribund creativity, or provocations of the m o d ern , d elin eatin g the trajectories of a tw entieth-century Chinese narrative discourse that can only now be fully realized. In any case, w ithout a conscious decision to appreciate how wayward, perverse, or “inappropriate” these works can be, one would have missed entirely one of the m ost radical, and most “creative,” periods in Chinese literary history. Editions and References Ah Ying f®J^, ed. Wan-Ch’ing wen-hsiieh ts’ung-ch’ao, hsiao-shuo chiian 0 , '.Mft#. 4v. Rpt. Taipei: Hsiieh-sheng, 1975. One of the earliest collections of late-Ch’ing fiction. __ . Hsiao-shuo hsien-t’an ssu-chung EHffi. Shanghai: Shang-hai Ku-chi, 1985. An overview of sources and editions of late-Ch’ing fiction. Chen, P’ing-yiian [Chen Pingyuan] and Hsia Hsiao-hung [Xia Xiaohong] g /JnJE, eds. Erh-shih shih-chi chung-kuo hsiaoshuo li-lun tzu-liao, ti-i-chiian, 1897-1916,
1897-1916. Peking: Pei-ching Ta-hsiieh, 1989. Chung-kuo chin-tai hsiao-shuo ta-hsi 27v. by 1996. Nanchang:
Chiang-hsi Jen-min, 1988-. Both wellknown and obscure texts included. Chung-kuo chin-tai wen-hsiieh ta-hsi 13v. by 1996. Shanghai: Shang hai Shu-tien, 1990-. Published in four genres: fiction, poetry, translation, and prose. Tarumoto, Teruo ed. Shinben Seimatsu Minsho shosetsu mokuroku m u m . Osaka: Shinmatsu Shosetsu Kenkyukai, 1997. The most thorough bibliography of late-Ch’ing fiction to date, with more than twothousand entries. Wan-Ch’ing hsiao-shuo ta-hsi 37v. Taipei: Kuang-ya, 1984. A compre hensive collection of major works. Wu, Chien-jen A. Wo-fo Shan-jen wench i& ffiU lA X R . 8 v. Lu Shu-tu H&MM, ed. Canton: Hua-ch’eng, 1989. The most comprehensive collection of Wu Chienjen’s works to date.
mmm
Translations Hanan, Patrick. The Sea of Regret: Two Tumof-the- Century Chinese Romantic Novels. Honolulu: University of Hawaii Press, 1995. Liu, Ts’un-yan, ed. Chinese Middlebrow Fiction: From the Ch’ing and Early Republican Eras. Hong Kong: The Chinese University Press, 1984. Shadick, Harold. The Travels of Lao Ts’an. Ithaca: Cornell University Press, 1959. Studies Ah, Ying 1®JH. Wan-Ch'ing hsiao-shuo shih Rpt. Hong Kong: T’ai-p’ing, 1966. Ch’en, P’ing-yiian [Chen Pingyuan]. Erh-shih shih-chi Chung-kuo hsiao-shuo shih: 1897-1916 18971916. Peking: Pei-ching Ta-hsiieh, 1989. ___ . Chung-kuo hsiao-shuo hsii-shih mo-shih te chuan-pien Taipei: Chiu-ta, 1990. Cheng, Stephen H. “Flowers of Shanghai and the Late Ch’ing Courtesan Novels.” Unpublished Ph. D. dissertation, Harvard University, 1979. Dolezelovd-Velingerova, Milena, ed. The Chinese Novel at the Turn of the Century. Toronto: University of Toronto Press, 1980.
Fang, Cheng-yao JoIEM- Wan-Ch‘ing hsiaoshuo yen-chiu Shanghai: Hua-tung Shih-ta, 1991. Galik, Marian. Milestones in Sino-Western Literary Confrontation (1898-1979). Wiesbaden: Otto Harrassowitz, 1986. Hsia, C. T. “The Travels of Lao Ts’an: An Exploration of Its Art and Meaning.” 1HHP7.2 (1969): 40-66. __ . “Yen Fu and Liang Ch’i-ch’ao as Advocates of New Fiction,” in Chinese Approaches to Literature, pp. 221-257. Huters, Theodore. “A New Way of Writing: The Possibilities of Literature in Late Qing China, 1895-1908,” Modern China, 14.3 (1988): 243-276. __ . “From Writing to Literature: The Development of Late Qing Theories of Prose,” WAS47.1 (1987): 51-96. K’ang, Lai-hsin Wan-Ch’ing hsiaoshuo li-lun yen-chiu Taipei: Ta-an, 1986. Kuo, Yen-li I?® ® . Chung-kuo chin-tai wenhsiieh fa-chan-shih Tsinan: Shan-tung Chiao-yii, 1990. Lai, Fang-ling WcB®. Ch’ing-mo hsiao-shuo yii she-hui cheng-chih pien-ch’ien Taipei: Ta-an, 1994. Lancashire, Douglas. Li Po-yiian. Boston: Twayne, 1981. Li, Peter. TsengP’u. Boston: Twayne, 1980. Lin, Ming-te ed. Wan-Ch'ing hsiaoshuo yen-chiu Taipei: Lienching, 1988. Lu, Hsiin. A Brief History of Chinese Fiction. Trans. Yang Hsien-yi and Gladys Yang. Rpt. Peking: Foreign Language Press, 1976. Semanov, V. I. Lu Xun and His Predecessors. Trans. Charles Alber. Armonk: M.E. Sharpe, 1980. Wang, Chiin-nien [Wang Junnian]. Chung-kuo chin-tai wen-hsiieh lun-wen chi: 1919-1949, Hsiao-shuo chiian m m X M ’ 1919-1949 /Mfc#. Peking: Chung-kuo She-hui K’o-hsiieh, 1988. Wang, David Der-wei. Fin-de-siecle Splendor: Repressed Modernities of Late Qing Fiction, 1849-1911. Stanford: Stanford University Press 1997 Wei, Shao-ch’ang B [Wei Shaochang], ed. Li Po-yiian yen-chiu tzu-liao Shanghai: Jen-min Wen-hsiieh, 1962. __ . Wu Chien-jen yen-chiu tzu-liao AW
Shanghai: Ku-chi, 1981. ___. Nieh-hai hua tzu-liao Shanghai: Ku-chi, 1982. Yeh, Catherine V. “Zeng P’u’s Nie-hai hua as a Political Novella: A World Genre in a Chinese Form.” Unpublished Ph. D. dissertation, Harvard University, 1990. Yeh, Chia-ying | « « . Wang Kuo-wei chi ch’i wen-hsiieh p ’i-p’ing3LW M 7kM 'X^iIt Iff. Taipei: Yiian-liu, 1983. Yiian, Chin MM- Chung-kuo hsiao-shuo te chintai pien-ko Peking: Chung-kuo She-hui K’o-hsiieh, 1992. David D. W. Wang Columbia University Li E S U (tzu, T ’ai-hung A $ t, hao, Fan-hsieh 1692-1752), a native of Ch’ien-t’ang (modern Hangchow), rose from poverty to become a widelyrespected man of letters. In the Ssu-k’u ch’uan-shu tsung-mu (see Chi Yiin*) Li E’s name was listed as historian, local gazetteer, essayist, poet (of shih, * tz’u* and ch’u*), scholar, and compiler. Bom into a poor family and orphaned early, for many years Li E made his living as a tutor before he passed the chu-jen^ A examination in 1720. Unfor tunately, however, owing either to personal temperament or circumstances not of his making, he could proceed no further in seeking official advancement through examinations for which he had been recommended. Li E placed a greater value on his antiquarian instincts and scholarship than on worldly success. One year when he was passing through Tientsin on his way to the capital to wait for an appointment, he became the house-guest of the bibliophile-scholar Cha Wei-jen (1694-1749), son of the wealthy salt-merchant Cha Li (1715-1783), at the Chas’ famous library-villa, Shui-hsi Chuang There he discovered that C ha Wei-jen was working on annotated edition of Chou Mi’s
(1232-1299 or 1308)* lyrics, Chiieh-miao hao-tz’uM '&tfftm (Best of the Best Lyrics; ca. 1290). This slim volume contains Chou Mi’s own selection of works by 132 lyricists from Chang Hsiao-hsiang (1129-1166) to Ch’iu Yuan fft 3H (b. 1247), an anthology having historical interest perhaps second only (fl. 1147) Yiieh-fu to Tseng Tsao’s ya-tz’u M tfiW M (Elegant Songs from the Music Bureau). Li E immediately joined forces with C ha and together they completed, in 1749, an annotated edition of this compilation, known as the Chiiehmiao hao-tz’u chien i f i l (An Annotated Best of the Best Lyrics) which was printed in 1750. Though Li E often proved himself to be a discerning critic when it came to specific words or lines, even the Ssu-k’u editors found him to be over-indulgent, and sometimes irrelevant, in citing anecdote after anecdote having nothing to do with a poem. For example, in the case of a famous lyric by Hsin Ch’i-chi (1140-1207)* written to the tune “Chu Ying-t’ai chin” and beginning “H alving the precious hairpin,/At Peach-leaf Ferry” H M f r / Li E cited the anecdote found in Chang Tuan-i’s (fl- 1235) Kueierh chi m m to the effect that Hsin wrote this lyric to express his displeasure at a woman in his service, nee Lti, the daughter of a prom inent official. According to Teng Kuang-ming and other modern scholars, this story is entirely without foundation (see p. 85 in Teng’s Chia-hsiian tz’u pien-nien chien-chu N evertheless, Li E was w idely recognized as the most erudite person of his day with respect to shih* and tz’u * poetry of the Sung dynasty. Another major opus of his is the Sung-shih chi-shih (Recorded Occasions in Sung Poetry), with a preface dated 1746. This monumental work was modeled after Chi Yu-kung’s (fl. 1126) T ’angshih chi-shih (R ecorded
Occasions in T’ang Poetry),* a valuable source for the study of T’ang poets and poems. And like his other annotated tz’u anthology, this, too, was completed by Li with the aid of another vast personal library named the Ts’ung-shu Lou M t f f t (The Loft of Collectanea), which was the collection of Ma Yiieh-kuan H Eli'S (1688-1766) and Ma Yueh-lu (1697-1766), two bibliophiles from Yangchow. For the compilation of this work, Li E claimed in the preface to having consulted works by 3,812 authors. The final result, however, was far from perfect. According to the notice in the Ssu-k’u ch’uan-shu tsung-mu, there are numerous repetitions and factual errors as well as poems cited without anecdotes and anecdotes told without poems. The work, thought, was still applauded for the compiler’s “extreme diligence” {yung-li ch’in iM J lM ^ :)Li E’s antiquarian interests embraced several diverse fields, including geography, history and art. Because Hangchow, his native place, had been the capital of the Southern Sung, he was especially keen in preserving historical anecdotes about various famous sites in the city which had not been recorded in earlier gazetteers. Besides the Tungch’eng tsa-chi (Miscellanies of the Eastern City), in 1744 he emended an account of the famous Buddhist temple, Yiin-lin Ssu f t # # , under the tide Tseng-hsiu Yun-lin ssu-chih xf * . A more ambitious work is his Liaoshih shih-i j® (Supplements to the History of the Liao), for which he had consulted over three-hundred tides. He viewed his labor of love as an equal to P’ei Sung-chih’s U & Z . (372-451) annotations to C h ’en Shou’s |$ * (233-297) San-kuo chihz^M fc (A History of the Three Kingdoms). In addition, Li E was also the author of the Nan-Sung hua-yUan lu i$7Gif: (A History of the [Imperial] Painting Academy of the Southern Sung), w hich contained biographical accounts of ninety-six
artists of the Southern Sung, including all the famous painters of the time, such as Li T ’ang (ca. 1050-after 1130), Ma Yuan I f M (fl. 1180-1230), Liu Sungnien (late 12th century), and Hsia K u e i* ^ (/Z . 1190-1230). Li E’s own belletristic writings consist of two chiian of dramatic verse (ch’u*), nine chiian of prose, nine chiian of lyrics (tz’u), and twenty chiian of shih-&\\ contained in his Fan-hsieh Shan-fang chi (The Collection of Fan-hsieh Mountain Studio), its continuation (Hsiichi m m ), and supplemental series ( Chiwai chi As a poet, Li E lived up to his name as a leader of the Chekiang School, or more precisely the Che-hsi tz’u-p’ai $Tffis§I$!c (Western Chekiang School of Lyrics),* continuing the work started by C ha Shen-hsing S 'K tT (1650-1727)* in sAtA-poetry and by Chu I-tsun (1629-1709)* in the lyric. Li E’s jAtA-poetry contains a good deal of landscape poetry, and it has been remarked that there is not a single famous scenic spot in his beloved city of Hangchow for which he did not write a poem. In the best of his verse, there is often an ethereal quality which may have stem m ed fro m his su ccessfu l juxtaposition of the abstract and the concrete. For example, in “A Moonlit Night at Ling-yin Temple” we read: Atop crowded peaks the moon shines; Amid jumbled leaves a stream flows. One lamp sets all motion to rest. The lone sound of a chime empties the Four Skies.
(The last phrase probably refers to the Four Heavens of the deva kings or it could simply mean “the sky in all four directions.”) Lines like these imbue his poetry with an air of quiet beauty. Frequently, though, betraying his
penchant for scholarship, Li E would deliberately introduce into his lines some obscure words or allusions. Chu Tsechieh the author of a recent history of Ch’ing poetry (Ching shih shih [Nanking: Chiang-su Ku-chi, 1992]) claims Li’s poetry intentionally blends erudition and etherealness (p. 234). Certainly it was Li E’s immense knowledge that led him to join with six fellow natives of Hangchow-Shen Chiach’e tfcHtfc, Wu Cho Ch’en Chihkuang Fu Tseng Chao Yii M S , and Chao Hsin H f s - to undertake the creation of a new anthology. Each of the seven authors was to write a hundred poems on lost anecdotes they had collected about Hangchow, and then to provide a note at the end of each poem as elucidation. This collection of seven-hundred poems was published under the title of Nan-Sung tsa-shih shih (Poems on Miscellaneous Events of the Southern Sung Dynasty). Such a work, according to the Ssu-k’u ch’Uan-shu tsung-mu (see Chi Yiin*) editors, is valuable only as a source book for anecdotes, not as a work of poetic merit. Li E clearly enjoyed playing his gam e both ways: he unearthed old myths and legends as a means to elucidate ancient poetry and also w rote new poem s w hich incorporated (and thereby preserved) similar stories from the past. Li E followed Chu I-tsun (1629-1709)* in his adm iration for Chang Yen 5S 2& (1248-ca. 1320)** and Chiang K’uei m W (ca. 1155-1221) and for their ch’ing-k’ung (pure and spare) style, a style meant to create the impression of delicacy and etherealness in a poem. As Chang Yen and Chiang K’uei attempted to reverse the trend tow ard direct boastful expressions adm ired so much in the works of Su Shih WM, (1037-1101)* and Hsin Ch’ichi, so C hu I-tsun had attempted to counter the influence of Ch’en Wei-
sung’s (1626-1682)* heroic verse. Another example of this style can be seen in a famous line of his, which reads: Pll 211A$fc—literally: “rain / w ash/autum n/lush/people/pale” (from his “Written Following Rain at the Lake after the Fifteenth of the Seventh Month” Following the reading of the word jen A as the persona of the poem, which could be rendered as either “she” or “I,” Shirleen S. Wong has translated this line as “Autumn ablaze with colors after rain, but paler she looks” (Waiting for the Unicorn, p. 175). O ne could also take ch’iu %k (autumn) as the object of the verb hsi (to wash away); similarly, jen A could also be the object of the same verb. The contrast between nung M (fullness, lush) and tan '$1 (insipid, flavorless, faded, light-colored) heightens the mood of dejection. Therefore, another translation m ight read: “R ain has d ren ch ed autumn’s lush colors as well as a paler me.” Here it is the rain which drained the color of the persona’s cheeks as it did the colors of autumn, thereby leaving her but a shadow of her former self. In this way, Li E enlivened this Che-hsi tradition with lyrics he believed adhered to the standards of Chang Yen and Chiang K’uei and also assured his own place in the literary tradition. Editions and References Li E. Fan-hsieh Shan-fang chi 10 chiian. HsU-chi m M , 10 chiian. Wen-chi ^ ^ , 8 chiian. Chi-wai shih 8 chiian. Miscellaneous, 1 chiian. SPTK. Translations Waitingfor the Unicom, pp. 172-7. Studies Chang, Wei-p’ing Kuo-ch’ao shih-jen cheng-liieh ch’u-pien SlfEifA$S[®&$Jl§. Chiian 22. In Ch’ing-tai chuan-chi ts’uttgk’an V. 21, pp. 733-40. Chu, Tse-chieh Ch’ing shih shih Nanking: Chiang-su Ku-chi, 1992, pp. 231-6.
ECCP, pp. 454-5. Ho, Kuang-chung f C ^ ^ . Lun Ch’ing tz’u fmfjfff. Singapore: Tung-fang Hsiieh-hui, 1958, pp. 69-81. Wang, Chung Ch’ing-tz’u chin-ch’iian fifnf jfeU:. Taipei: Hsiieh-sheng, 1965, pp. 64-70. Yen, Ti-ch’ang MMM- Ch’ing tz’u shih ff !§! j£. Nanking: Chiang-su Ku-chi, 1990, pp. 312-23.
Irving Yucheng Lo Li K uan {tzu, Yuan-pin jt % , 766-794) is best known as a prose writer whose life and ideals paralleled those of Li H o (791-817)* and for his friendship with Han Yii (768-824).* Li was born in Soochow to a family originally from Lung-hsi PHS5 (modem Kansu). It has been argued that he was a nephew of the essayist Li Hua {ca. 715-ca. 774),* but this seems to have been an incorrect attribution. In 782 at 18 sui he was recom m ended as a provincial candidate for the national examinations, but stayed in Soochow, presumably for further study. Several of his works mention his devotion to books and wide reading. It was perhaps for this reason that he claimed not to have made any close friends until he went to the capital. Arriving in Ch’ang-an in 790-seven years after he had first been made a provincial candidate-he described his wonderment with the city: “In the days of the first month, I set myself up with the landlord of an inn, saw the imperial palace with its twin gatetowers stretching to the sky, craning my neck as I went back and forth, as if I had trod through the dust to stop at the heights of the Five Sacred Mountains” ( Ch’iian T ’ang wen, 533:6859). Shortly thereafter he began to prepare for the examinations by attempting to find a patron: “In the days of the second month, I took my incomparable writings to several well known gentlemen, hoping they would
carefully read them and perceive their truth . . . . But when I went to see them, their gates were shut” (Ibid.). Although he was unsuccessful in the examinations of 790, he continued to seek influential friends (about a fourth of his prose pieces are letters appealing to potential sponsors). Perhaps through these appeals Li Kuan was able to enter the State Univer sity (Kuo-tzu chien Hi-pin!) and study there for a time. The T ’ang chih yen M W "g claims he was at the Kuang-wen Tien !0[JCli$i (Hall of Broad Writings). After his failure in 790, Li was encouraged by the selection of Tu Huang-shang t t w S- (ca. 738-808) as exam iner the following year. Tu had a reputation for honesty and Li Kuan was brimming with confidence, as can be seen in his “Yeh Fu-tzu Miao w en” (On V isiting the C onfucian Tem ple), probably written about this time: Among those who have carried down the Confucian teachings through the ages, I, this clan-descendant of the Lung-hsi Lis, have rectified my phrases as a means of purification and, holding up this purified object in offering, reverently present it to you. The “purified object” was of course Li Kuan’s essay. After failing the examination in 790, as did fellow students Liu Tsung-yiian W ttTG (773-819)* and Liu Yu-hsi i | (772-842),* he seems to have lived on in what he described as impoverished circumstances, failing again in 791, but continuing to study, write and seek a patron. Li shows in numerous letters that he was clearly under the influence of the fa-ku “returning to antiquity” school of writers, the most famous of whom was Han Yii. In 792, therefore, those talented young writers in this group must have been buoyed by the news that Lu Chih m » (754-805)* would examine them, assisted by Liang Su M HI (753-793)* and Ts’ui Yuan-han (ca. 725-795), both fu-ku advocates. In the spring of that year, apparently
still with no patron, Li Kuan attained the fifth rank on the list of successful chin-shih graduates, above Han Yii and several other notable T ’ang figures who passed that year. Because of the subsequent fame of the 792 graduates in literature and politics (five became chief ministers), and in part because of the reputations of the exam iners themselves, this group soon became collectively known as the Lung-hu Pang (Dragons and Tigers List). Shortly after passing the examina tions, Han Yii and Li Kuan exchanged poems. In H an’s verse he compares himself to the gigantic mythical fish k ’un m and Li Kuan to the p ’eng H (roc) bird which measures over a thousand miles across its back. Li Kuan was also close to another fellow-graduate, Feng Su $§?§ (767-836). Li and Feng shared geographical backgrounds, too-Feng was also a Southerner (from Wu-chou H'J'I'I, modern Chekiang). In a poem Li wrote for Feng, probably in the winter before their success, he reveals his state of mind (Ch’iian T ’ang shih, 319:3596): Presented to Feng Su From the cold city-wall I ascend to the plains of Ch’in, A wanderer with thoughts flying in the wind. Black clouds cut off the view of a myriad miles, Hunting fires bum from their midst. Into the dark void steams a long trail of smoke, Only the killing air will not disperse. Pieces of ice interlock-stones about to split; The winds crazed-mountains seem to sway. These days no hearts steadfast as the green pines, But I alone will not wither and fade.
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Aside from avowing his loyalty to Feng Su, the poem discloses Li K uan’s pessimism about contemporary society and politics. It also exhibits the “harsh diction” (se M) reminiscent of the poetic style usually associated with Han Yii and Meng Chiao (751-814).* Li Kuan’s prose prior to 792 embodies the contradiction of em ploying a haughty, intransigent style to express his requests for assistance in his career-this interspersed with references to his own moral superiority. Despite passing the more advanced examination of Po-hstieh Hung-tz’u (Vast Erudition and Grand Exposition, designed to assist in the placem ent of recen t chih-shih graduates) later that spring, ranking second of four candidates, Li Kuan seems to have won few friends in the government. Meng Chiao’s “Tseng Li Kuan” (Presented to Li Kuan) suggests on the contrary that his success in the examinations aroused jealousy. Nevertheless, he was offered the post of T ’ai-tzu chiao-shu-lang A -ffelfJiP (Gentleman in Charge of Collating Books for the Heir Apparent), a sinecure often given to recent graduates who displayed literary talent. Li Kuan seems to have been disappointed with this appointment and went home to Soochow during the summer of 792. O n his return to Ch’ang-an later that year he suggests (in works such as “Shang Chia P’u-yeh shu” [Letter to Vice Director (of the D epartm ent of State) Chia]; Ch’iian T ’ang wen, 534:6874) that he was still not employed. Often ill during his years in the capital, his health deteriorated in 793 and he died the following year. Han Yii wrote an epitaph which praised Li Kuan’s literary talents and his moral behavior. Li’s literary reputation today is based on four poems (of an original thirty) and about fifty works of prose. This may seem an insignificant corpus, but it is a larger number of works than either Han Yii or Liu Tsung-yiian had written by their late
twenties and presents a broad spectrum of genres and subjects. M oreover, although clearly infused with the Confucian spirit of fii-ku, works like Li Kuan’s “T ’u n g ju Tao shuo” (Discourse on the Com patibility of Confucianism and Taoism; Ch’iian T ’ang wen, 535:6885) reveal an eclectic mind w hich m ight have added another dimension to mid-T’ang thought, had Li lived longer. Despite admiration from peers and success in the examinations, Li Kuan seems never to have found contentment. His “Chiao nan shuo” 35 (Discourse on the Difficulty of Making Friends; Ch’tian T ’ang wen, 535:6885) reveals the paradoxical approach he took to life, and the mood in which he undoubtedly faced his too-early death: In ancient times men regarded it unsound not to have friends. Thus friends are something you must have.. . . Making friends is difficult. A casual union based on profit leads to indignation and loud cursing. I often admonish myself not to recklessly speak of making friends. How much more does this apply to the men of today, who truly suffer from the poison of snakes and lizards. For this reason, I keep to myself, and grieve for the lonely spider [in his web]. Editions and References Ch’Uan T’ang shih, 319:3596-3597. Ch’iian T ’ang wen, 532-535:6845-6893. Li Yiian-pin wen-chi wen-pien j8. 3 chiian. Wai-pien ■2 chiian. Hsiipien MM ■1 chiian. In Tang-jen san-chia chi Ch’in Yin-fu (1760-1843), ed. 1818._ Li Yiian-pin wen-pien 3 chiian. Wai-pien. 2 chiian. Ssu-k’u. Translations Nienhauser, William H., Jr. “Among Dragons and Tigers: Li Guan (766-794) and His Role in the Late 8th Century Literary Scene,” Proceedings of the 2nd Inter national Sinological Conference, Sect. on Lit.. Taipei: Academia Sinica, 1988, 1:243-87.
Studies Lo, Lien-t’ien WMW£
®J, Kao K’o nj, and Sung Chun eds. Pao-chuan ch’u-chi 40v. T’aiyiian: Shan-hsi Jen-min, 1994. A reprint of 148 titles. Studies Ch’e, Hsi-lun $§§{$[. “Chung-kuo tsui-tsao te pao-chiian” Chung-kuo wen-che yen-chiu t’ung-hsiin 6.3 (September 1996): 45-52. Cheng, Chen-to MMM- “Fo-ch’ii hsii-lu” m m m in Chung-kuo wen-hsiieh yen-chiu Shanghai: Shang-hai Shutien, 1934 and 1981. Hu, Shih-ying T’an-tz’u Pao-chiian shu-mu 3#n«IJ§’# llr Peking: Ku-tien Wen-hsiieh, 1957. Johnson, David. “Mu-lien in Pao-chiian: The Performance Context and Religious Meaning of the Yu-ming Pao-chiian. ” In Johnson, ed. Ritual and Scripture in Chinese Popular Religion: Five Studies. Berkeley: Chinese Popular Culture Project, 1994, pp. 55-103. Kuan, Te-tung M'iMW- “Pao-chiian man-lu” m m m m . In his Ch’u-i lun-chi Shanghai: Chung-hua, 1960, pp. 19-39, Kerr, Janet Lynn. “Precious Scrolls in Chinese Popular Religious Culture, V. I and II.” Unpublished Ph.D. dissertation, University of Chicago, 1994. Li, Shih-yii Pao-chiian tsung-lu H # Shanghai: Chung-hua, 1960. Still the most comprehensive bibliography; lists 653 tides in 1,487 editions. Nadeau, Randall. “Genre Classifications of Chinese Popular Religious Literature: Pao-chiian,”Journal of Chinese Religions 21 (Fall 1993): 121-128. Provides a helpful table of classifications of pao-chiian. __ . “The Domestication of Precious Scrolls, The Ssu-ming Tsao-chiin pao-chiian,”JCR 22 (1996): 23-50. Overmyer, Daniel. Precious Volumes: An Introduction to Chinese Sectarian Scriptures from the Sixteenth and Seventeenth Centuries (forthcoming from Harvard University Press). A comprehensive study of the scriptural pao-chiian. __ . “Attitudes Toward the Ruler and State in Chinese Popular Religious Literature: Sixteenth and Seventeenth Century Paochiian,” HJAS44 (Dec. 1984): 347-379. __ . “Values in Sectarian Literature: Ming
and Ch’ing Pao-chiian.” In Popular Culture in Late Imperial China. David Johnson et al, eds. Berkeley: University of California Press, 1985, pp. 219-254. Sawada, Mizuho Zoho Hokan no kenkyu Tokyo: Kokusho Kankokai, 1975. Janet Lynn Kerr W & Valparaiso University Pien erh ch’aiftMWL (Wearing a Cap But Also Hairpins) is a collection of four lengthy stories, each told over five chapters. These pieces provide a defense for and illustration of male hom o sexuality under the four rubrics of ch’ing chen flt J l “loyalty in love,” ch’ing hsia W “heroism in love,” ch ’ing lieh “martyrdom in love,” and ch’ing ch’i 'Ilf of “marvels in love.” The author’s penname, Tsui Hsi-hu Hsin-yiieh Chu-jen (The M aster Who Is Drunk with the Moon in the Middle of West Lake), points to a Hangchow writer, th e sam e w ho w rote a n o th e r pornographic work with a sim ilar structure of four stories in twenty chapters, the I ch’un hsiang chih H . Nai-ho t’ien a-a tao-jen jllA (The M an of the W ay Who Exclaims at H eaven’s Fecklessness) offers a brief comment following each chapter. Although each of the stories differs in them e, “C h’ing-hsia chi” (Records of Chivalry in Love) may serve as an example of the style and structure. “Ch’ing-hsia chi” depicts Chang Chi $ 1 ,handsome and well versed in both the literary and martial arts. After he is seen to win first place in the hsiu-ts’ai examination, the scene shifts to a bandit group in the nearby mountains. One of their leaders, Wang Fei-pao is a righteous m an who had turned to banditry after he killed a eunuch who had arranged to steal his wife. When Wang fled to the mountains he took both
his two daughters, now fully grown. After attacking C hang’s hometown, W ang decides to surrender to the government. He then m atched with some of the governm ent generals who excel in martial arts. Wang defeats these generals one after another until he meets Chang. Chang is able to overcome not only Wang, but also his daughters. As a result, Wang gives his daughters to Chang in marriage. Not only Wang, but also another onlooker, Chung T’u-nan was impressed by Chang’s powerful display. Chung fell in love with Chang, got him drunk, and seduced him. At first Chang was enraged, but over time accepted Chung’s love. Together the two men passed the chii-jen examination. The men then separated, both passing the chin-shih examination and winning official posts. When Chang led troops to put down a rebellion in Shansi where Chung was serving, they revived their former love affair. Both were rew arded by the emperor for their role in putting down the rebellion. Several years later, after they had retired, Chang and Chung united their families through marriage, and the two clans enjoyed good relations for generations. Though quite explicit in some of the love scenes, the author avoids coarse ribaldry and adapts the colloquial language to a rather elegant style interspersed with poetry. The elegance of the presentation in Pien erh ch’ai may allow it to be considered the masterpiece of Chinese homosexual fiction. Though repeatedly prohibited, the book survived in three or more copies of the same late Ming edition, which may be the first one, with fourteen artistic, full-page illustrations. Copies are available in Taipei (Central Library), Peking (National Library), and Washing ton, D.C. (Library of Congress). Editions and References There is no modern critical edition of this
text. Pien erh ch’ai. Pi-keng Shan-fang edition. Missing the preface and postface. Illustrated with 30 woodblock prints. Translations Levy, Andre. £pingle de femme sous le bonnet viril, Chronique d’un loyal amour. Paris: Mercure de France, 1997. Contains the first story. Studies Hanan, Patrick. The Chinese Vernacular Story. Cambridge: Harvard University Press, 1981, p. 162. Brief critical comment. Hsiao, Hsiang-k’ai JSNfilS. “Pien erh ch’ai,” in Hsiao-shuo tsung-mu t ’i-yao, p. 240. Gives a detailed description of the edition in Peking along with summaries of the three stories it contains. Chung-kuo ku-tai hsiao-shuo pai-k’o ch’iian-shu Peking: Hsinhua, 1993, p. 14.
Andre Levy University of Bordeaux Po Vi (Po [Chii-i m % ] Style; also known as the Po Hsiang-shan t’i fzl HFl-UH, the Po Lo-t’ien t’i was one of two poetic “schools” which have been identified by later critics as dominating Early Sung verse (the other school was the Late-T’ang style). Fang H ui ^T|H (1227-1306), for example, claimed the following poets, primarily from the Five Dynasties’ states of Nan T ’ang flfJS, Wu-Yiieh and Hou Chou &.M, wrote in the Po Style: Hsii Hsiian (917-992), Hsii K’ai (920-974), Li Fang & W (925-996), W ang Ch’i $ 1006-1016) and W ang Yii-ch’eng B S f l l (954-1001)*; later critics expanded the list to include T ’ien Hsi M (940-1003), Sung Po ^ 6 (936-1012), Li Hang $r/C(947-1004) and Li Chih ^ (948-1001). The problem with the label “Po t’i” is that it actually applies to two very different types of poetry, both written by Po Chii-i. Early Po-Style poets like
Hsii Hsiian, who served the Southern T ’ang as Secretariat Drafter (Chung-shu she-jen 4 ’# # A ) and the early Sung as Left Official in the Chancellery (Tso Ch’ang-shih 7r^{vf), and Li Fang, who was Vice D irector of the Secretariat (Chung-shu shih-lang ^Hrf^jllS) at the Sung court, were high officials and they emulated the poetic exchanges between Po Chii-i and Yiian Chen (779831)* which became known as the YiianPo t’i 7C&Wt (Style of Yiian and Po) during the Yiian-ho jcfP reign (806820; also referred to as the Yiian-ho Style). Their verse form was, in imitation of Po and Yiian, primarily modem-style poetry and their content was restricted to personal concerns and events of their daily lives. Representative of their works is a poem entitled “Hsien-k’o” filler (Guests from the Otherworld) written by Li Fang to exalt five cranes he had domesticated: Born in incubation, divine birds with a specialness innate; What person brought you to the capital, Accordingly titled you the beautiful “guests from the otherworld?” You should keep company the idle man at home. Startling the dew, your autumn cries reach far beyond the clouds, Standing alone on the sand your shadow in the cloudless night is solitary under the moon. To verdant fields thousands of miles across you will finally retumDon’t sigh that for a time you must gather with barnyard fowl. nxm m m
wHumus®*, trm&xisi?. The explicitness and simplicity of expression dem onstrates the p o et’s inheritance of Po’s aesthetic pursuits during the Yiian-ho reign. Although the style of such poems was
simple, this remained a personal genre created by an “in-group,” admission to which depended upon socio-political contacts. The most famous collection of this type of the Po Style was the Han-lin ch’ou-ch’ang chi including works by Hsii Hsiian, Li Fang, and T’ang Yiieh M ’VrL (fl. 975), Prime Minister of Southern T ’ang. Li Fang and Li Chih also collected their exchanges into the Erh L i ch’ang-ho chi Works by W ang Yii-ch’eng and Feng K’ang M ml (d. 1000) became Shang-yii ch’ang-ho ch m ^m m . B ut W ang Y ii-ch’eng was a transitional figure in this style, since he was interested in another aspect of Po Chii-i’s legacy-the social content of many of his poems. Raised in a poor family and having grown up among the common people, he had more sympathy for the lower levels of society than any of the other poets in the Po School. Thus his work, especially after a demotion in 991, begins to encompass two types of poems which represent two types of poems Po Chii-i himself wrote, modemstyle poems for exchange with friends and colleagues, and socially conscious pieces intended to point out problems among the common people. His series of yiieh-ju written during the early 990s exemplify the latter type. Following the composition of the Hsik ’un ch ’ou-ch’ang chi (Anthology of Poems Exchanged in the Hsi-k’un Archives)* in the early tenth century, the euphuistic style of verse associated with Li Shang-yin 2£jf5j^| (ca. 813-858)* dominated the poetic stage and the Po School died out, although exchanges in poems later in the dynasty were sometimes seen as a continuation of its influence. Editions and References Hsii, Hsiian Hsii-kung wen-chi M- 30 chuan. Supplement, 1 chiian. Hsii Nai-ch’ang 'lfrk. (1580-after 1661); M in utilized multiple printing blocks and dampened paper to produce striking polychromatic illustrations. Some of the finest illustra tions in terms of design and execution appear in the collection of lyrics compiled by the Soochow poet and calligrapher W ang Chih-teng ZEfS-H (1535-1612) entitled Wu sao chi ^ISS^t (A Collection of Songs from W u [i.e., tz’if], 1614) and its sequel (printed in 1616). Several albums of illustrations of the central characters of Shui-hu chuan appeared; the most widely appreciated is the work of the professional artist C h’en Hung-shou (Ch’en Laolien 1598-1652) with inscrip tions by the scholar-official W ang Taok’un S i j l f l published in 1653. Editions produced during the Sung have been viewed as the most important ever since; ex ten siv e w ork on cataloguing extant books from this period has produced printed biblio graphies in China and elsewhere and a
growing on-line catalogue of Chinese ra re b ooks th ro u g h the RLIN bibliographic network. Sung imprints are generally considered the standard by which the quality of all later editions are judged: Sung publishers were officially required to print their names on all of their imprints, presumably to encourage faithful reproduction of the books’ real contents. They competed as well in making their books physically attractive; the calligraphy of various famous scholars was used as a model for their printed type. Likewise, many Sung period books carried one or more illustrations, a practice that was to contribute to the boom in publishing during the M ing period. The general regard am ong bibliophiles for Sung editions, especially as they became more and more rare, drove the prices for originals upward and, during the Ch’ing and m odern periods, inspired the reprinting of many, either by woodblock or by more modem techniques. Book Collecting. The advent of printing did no t im m ediately produce an explosion in the num ber of books. As the late C h’ing bibliophile Yeh Te-hui (1864-1927) has pointed out: From Sung and Yiian times scholars have been far more fortunate than the ancients in having access to books; in the Ch’ing dynasty those of the Ch’ienlung (1736-1795), Chia-ch’ing (17961820), and later periods had an especially liberal share of this good fortune. At the end of the Five Dynasties (907-959) and the beginning of the Northern Sung (960-1127) even standard texts of the Classics and Histories seldom circulated in printed form; unless a man had great means, the collecting of books could not be thought of. Even after printed books came into being, there were no facilities for collecting diem in one place; men of means themselves did not find it easy to search for and obtain them. The ancients gloried in having a peep at the palace library and reading the
books of “Lao’s Collection.” We nowadays, however, can obtain several voluminous sets in a single day, provided that we have the means at our command. (Yeh Te-hui, “Bookman’s Decalogue,” p. 147; Achilles Fang’s note 81, p. 166 [see the section in the bibliography entitled, “G eneral Studies of Book Production, Collection, and Circula tion,” below], explains that L ao’s Collection, refers, by allusion to the Hou Han shu to books in the palace library.) While Yeh surely overstates the case, m ajor private collections of literary materials became practical to assemble only in fairly recent times, from the late Ming period onward. Fortunately the bibliographies of major private collections remain; reprints of them can be found in all major library collections today. Several late-Ch’ing scholars a n d b ib lio p h iles w rote extensively on book collecting and collections; in addition to Yeh Te-hui, perhaps the most outstanding is Yeh C h’ang-chih M S i M , whose Ts’ang-shu chi-shih. shih was published in 1910. Bookbinding. The Tun-huang Diamond Sutra had been bound in scroll format, its seven sheets of paper glued together end to end to form a continuous roll nearly sixteen feet in length. But this was a cumbersome format for any reader who did not wish to proceed systema tically from its beginning to the end. By the N orthern Sung period Ou-yang Hsiu* noticed that scroll mounted books were disappearing, a change that he applauded. By his time some books were bound in ching-che-ckuang (sutrabinding) by folding long sheets of paper accordion-style; a second format, hutieh-chuang (butterfly binding), utilized separate sheets of paper folded in the center with the text inward and glued to each other along the fold. While both allowed the book to lie flat while
being read, there was a tendency for “butterfly bound” pages to fall out Books bound in this second form at were popular during the Yiian period and the early Ming. By the middle of the Ming, however, this form at became nearly exclusively reserved for albums of print ed pictures; most other books were pro duced utilizing the sewn back or hsienchuang M M (literally “string binding”) format. This binding produces the flex ible fascicles that became the standard until the twentieth century: such books can as easily lie flat for lengthy scrutiny as they can have their pages turned quickly for a fast skimming. Likewise, the presence of glue in stiff spine and “butterfly” bindings attracted insects to a far greater degree than did stringbound volumes, as Yeh Te-hui points out (Yeh Te-hui, p. 142). It may not be coincidental that relatively standard characters for easy reading, a binding format that accommodated any type of reading, and the popularity of vernacular fiction all appeared during the middle of the sixteenth century. String binding prevailed after the introduction of W estern-style lithographic printing; books bound with hard covers in the European style began to be common only after the fall of the Ch’ing dynasty. Important Bibliographical Studies: Ah, Ying P5f^, comp. Wan Ch’ing hsi-chii hsiao-shuo mu @. Shanghai: Wen-i Lien-ho, 1954. An, P’ing-ch’iu and Chang P’ei-heng SlcintlL, eds. Chung-kuo chin-shu ta-kuan A ll- Shanghai: Shang-hai Wen-hua, 1990. Ch’en, Po-hai and Chu I-an comp. T’ang shih shu-lu Tsinan: Ch’i-Lu Shu-she, 1988. Chiang, Liang-fu Ch’u-tz’u shu-mu wu-chung Peking: Chunghua, 1961. Chung-kuo ku-chi shan-pen shu-mu Collections. Shanghai: Shang-hai Ku-chi, 1985-. Chung-kuo t ’u-shu wen-shih lun-chi tfjHIHii Taipei: Cheng-chung, 1991;
Peking: Hsien-tai, 1992. Festschrift for T. H. Tsien on his 80th birthday. Denda, Akira comp. Meikan Gen Z fltsu g eki Seiso ki mokuroku Tokyo: Tokyo Daigaku Toyo Bunka Kenkyujo Fuzoku Toyogaku Bunken Senta, 1970. Ho, Tz’u-chiin W>k.Wi- Shih-chi shu-lu jfefg Peking: Shang-wu, 1958. Hu, Wen-pin Chin P ’ing Mei shu-lu Shenyang: Liao-ning Jenmin, 1986. Kuo-li Chung-yang T’u-shu-kuan Sung-pen t ’ulu Taipei: Chung-hua Ts’ung-shu Wei-yiian-hui, 1958. Ma, T’i-chi comp. Shui-hu shu-lu 7jc M U Itt Shanghai: Ku-chi, 1986. Otsuka, Hidetaka tS5. Zdho Chugoku tsuzoku shosetsu shomoku i|fftf 41S i l l A h tftlffll. Tokyo: Kyuko Shoin, 1987. Shih, T’ing-k’ang JSsJiSR. Chung-kuo ku-chi pan-pen kai-yao Tientsin: T’ien-chin Ku-chi, 1987. Sun, K’ai-ti Hsi-ch’u hsiao-shuo shu-lu chieh-t’i Peking: Jenmin Wen-hsiieh, 1990. __ . Jih-pen Tung-ching so-chien Chung-kuo hsiao-shuo shu-mu 0 ^3SjR#T^4,liJ/JNt& IF |=|. 1932. Rpt. Hong Kong: Shih-yung, 1967. __ . Chung-kuo t ’ung-su hsiao-shuo shu-mu 4* Rev. edition, 1958. Rpt. Hong Kong: Shih-yung, 1967. Ts’ui, Fu-chang H H 3ft, ed. Ch’u tz’u shu-mu wu-chung hii-pien ^ $ £ ltI I E f llS li. Shanghai: Shang-hai Ku-chi, 1993. Tu, Hsin-fu Ming-taipan-k’o tsung-lu Yangchow: Chiang-su Kuang-ling K’o-yin-she, 1983. Wan, Man T’ang-chi hsii-lu Ilf HI Peking: Chung-hua, 1980. Wang, Chung-min jEJtfss- Chung-kuo shanpen-shu Shanghai: Shang-hai Ku-chi, 1983. __ , comp. A Descriptive Catalogue of Rare Chinese Books in the Library of Congress. 2v. Washington, D.C.: Library of Congress, 1957. Wu, Han Chiang-Che tsang-shu-chia shih-lueh Peking: Chung-hua, 1981. A dictionary of about 800 famous book collectors in Kiangsu and Chekiang.
Studies o f Printers and Printing Chang, Hsiu-min Chung-kuo yin-shua shih 4Illsl£Pfij!Jj&- Shanghai: Shang-hai Jen-min, 1989. Chia, Lucille. “Printing for Profit: The Commercial Publishers of Jianyang, Fujian (Song-Ming).” Unpublished Ph.D. dissertation, Columbia University, 1996. Edgren, Soren, ed. Chinese Rare Books in American Collections New York: China Institute in America, 1984. Fang, P’in-kuang l i m i t , ed. Fu-chien pan-pen tz’u-liao hui-pien ' Mimeograph ed., Fu-chien Shih-fan Tahsiieh T’u-shu-kuan, 1979. Hsiao, Tung-fa “Chien-yang Yii-shih k’o-shu k’ao-liieh” Wen-hsien 21 (1984): 230-247; 22 (1984): 195-219; 23 (1985): 236-250. __ , “Ming-tai hsiao-shuo-chia, k’o-shu-chia Yii Hsiang-tou” ■4-, Ming Ch’ing hsiao-shuo lun-ts’ung 1986.4: 195-211. Huang, Shang f tf t. Ch’ing-tai pan-k’o i-yti ttftJK *]—PH. Tsinan: Ch’i-Lu Shu-she, 1992. Li, Chih-chung Li-tai k’o-shu k ’ao-shu Chengtu: Pa-Shu Shu-she, 1989. Martinique, Edward. Chinese Traditional Bookbinding: A Study of its Evolution and Techniques Taipei: Chinese Materials Center, 1983. Nagasawa, Kikuya Zukai Wa Kan insatsushi Tokyo: Kyuko Shoin, 1976. 2v.: Kaisetsuhen H , Zurokuhen Tsien, Tsuen-hsuin Chung-kuo shuchi, chih-mo chi yin-shua shih lun-wen chi H 0ng Kong: Chinese University Press, 1992. __ . Paper and Printing Vol. V, Part I, of Science and Civilisation in China. Joseph Needham, ed. Cambridge, England: Cambridge University Press, 1985. Twitchett, Denis. Printing and Publishing in Medieval China. New York: Frederic C. Beil, 1983. Ger. transl. (Hartmut Walravens, Druckkunst und Verlagswesen im mittlealterlichen China, Wiesbaden: Harrassowitz, 1994) appends Helwig Schmidt-Glintzer’s “Die Authentizitat der Handschrift und ihr Verlust durch die Einfuhrung des Buckdrucks,” pp. 82-103.
Wang, Chao-wen Ku-chi Sung Yuan k ’an-kung hsing-ming so-yin Shanghai: Shang-hai Ku-chi, 1990. Wei, Yin-ju MMM- Chung-kuo ku-chi yin-shua shih Peking: Yin-shua Kung-yeh, 1984. Widmer, Ellen. “The Huanduzhai of Hangzhou and Suzhou: A Study in Seventeenth-Century Publishing,” IffAS 56.1 (1996): 77-122. Wu, K. T. “Chinese Printing Under Four Alien Dynasties,” IffAS 13 (1950): 447523. __ . “Ming Printing and Printers,” IffAS 7 (1942): 203-260. General Studies o f Book Production, Collecting, and Circulation Brokaw, Cynthia. “Commercial Publishing in Late Imperial China: The Zou and Ma Family Businesses of Sibao, Fujian,” Late Imperial China 17.1 (1996): 49-92. Cherniack., Susan. “Book Culture and Textual Transmission in Sung China,” IffA S 54 (1994): 5-125. Chia, Lucille. “The Development of the Jianyang Book Trade, Song-Yuan.” Late Imperial China 17.1 (1996): 10-48. Drege, Jean-Pierre. Les bibliotheques den Chine au temps des manuscrits (jusqu’au Xe siicle). Paris: £cole Fran?aise d’Extreme-Orient, 1991. Publ. de VEFEO, CLXI. Fu, Hsi-hua ed. Chung-kuo ku-tien wen-hsiieh pan-hua hsiian-chi 2v. Shanghai: Shang-haiJenmin Mei-shu, 1981. Han, Hsi-to and Wang Ch’ing-yiian i f f ® , eds. Hsiao-shuo shu-fang lu /htft Shenyang: Ch’un-feng, 1987. Hegel, Robert E. Reading Illustrated Fiction in Late Imperial China Stanford: Stanford University Press, 1997. Kobayashi, Hiromitsu %. Chugoku no hanga-Tddai kara Seidai made Tokyo: Toshindo H CM , 1995. Lai, Hsin-hsia 5|5|ffIE- Chung-kuo ku-tai t ’ushu shih-yeh shih Shanghai: Shang-hai Jen-min, 1990. Lee, Thomas H. C. “Books and Bookworms in Song China: Book Collection and the Appreciation of Books,” ,/SY.S 25 (1995): 193-218.
mmm
Li, Chih-chung Chung-kuo ku-tai shuchi shih Peking: Wenwu, 1985. Mote, Frederick W. and Hung-lam Chu. Calligraphy and the East Asian Book The Gest Library Journal? 2.2 (Princeton University, 1988). Special issue. Oki, Yasushi “Minmatsu Konan ni okeru shuppan bunka no kenkyu” Hiroshima Daigaku Bungakubu kiyd 50.1 (1991): 1-175. Special issue. Sun, Tien-ch’i Liu-li-ch’anghsiao-chih SK^lK'-kTS. Peking: Pei-ching Ku-chi, 1982. Swann, Nancy Lee. “Seven Intimate Library Owners,” HJAS 1 (1936): 363-390. Wang, Li-ch’i 3iflJ§§, comp. Yiian Ming Ch’ing san-tai chin-hui hsiao-shuo hsi-ch’u shih-liao Rev. ed., Shanghai: Shang-hai Ku-chi, 1981. Wu, K. T. “Libraries and Book Collecting in China Before the Invention of Printing.” T ’ien Hsia Monthly 5.3 (1937): 237-260. Yeh, Ch’ang-chih MUkM- Ts’ang-shu chi-shih shih HMMEWS. 1910; Rpt. Shanghai: Ku-tien Wen-hsiieh, 1958. Yeh, Te-hui “Bookman’s Decalogue (Ts’ang-shu shih-yiieh $&|f+,#]), trans. Achilles Fang. HJAS 13 (1950): 132-173. __ . Shu-lin ch’ing-hua Changsha: Kuan-ku T’ang, 1920; Rpt. Taipei: Wenshih-che, 1973. Important Reproductions o f Rare Editions Cheng, Chen-to comp. Chung-kuo ku-tai pan-hua ts’ung-k’an m n 4v. Shang-hai: Ku-tien Wen-hsiieh, 1958. Rpt. Shanghai: Shang-hai Ku-chi, 1988. Ch’ien, Ch’ien-i ftfttg . Chi Chen-i m M HC, comp. Ch’iian T’ang shih kao-pen 760 chiian. Protoreprinted, Taipei: Lien-ching, 1979. Huang, Feng-ch’ih T’ang shih hua-p’u iSflfSEif. Ca. 1600. Rpt. Shanghai: Shang-hai Ku-chi, 1982. Ku-pen hsi-ch’ti ts’ung-kan Series 1-9. Shanghai: Shang-wu, 19541958. Ku-pen hsiao-shuo chi-ch’eng Shanghai: Shang-hai Ku-chi, 1990-1992.
Ming Ch’eng-hua shuo-ch’ang tz’u-hua ts’ungk ’an ed. Shanghai Museum. Peking: Wen-wu, 1979. Sung-k’o Mei-hua hsi-shen p ’u • m i m m Sung Po-jen comp. Peking: Wen-wu, 1982.
Robert E. Hegel Washington University P u M eng-chu (also known as H o-shuang o '® , late eighteenth century) has only a sequence of nine tz’u * lyrics to the tune of “Lin-chiang hsien” Blff'flll (Immortal by the River) that are extant. W hat distinguishes P’u from most traditional women poets is that her extant work presents a fairly complete autobiographical account of her life as a professional embroiderer. The first poem of the series goes back to P’u’s early childhood, when she first started to learn em broidery. The embroidery stand was “as tall as I,” and she was so small that she could not even tell the “four comers of the floral design” or figure out “how to get to the center” of the embroidery. However, the poem depicts more than P’u’s initiation to the art of embroidery; it also suggests her innocence in matters of the heart: “I did not recognize m andarin ducks/A nd w ondered why the other girls/N ever tired of embroidering them in pairs.” The second poem continues the first. An adorable girl, P’u was praised for her silken hair and for being “clever and smart.” The poem depicts a childhood scene in vivid details: playing games with siblings and relatives at night, “We shuttled among flower shadows-/Afraid that our clogs m ight be h eard,/W e climbed up the stairs in our stockings.” Although her age is unclear, in the third poem are suggestions of an awakening of romantic desires in a young woman. Q uite innocently the poem depicts a boating episode. W hen she and her companions were about to board an “orchid boat” for a ride on a lake
with lotus flowers, a gust of wind blew the boat to the lakeside. Understandably dispirited, P’u says: “I cared not to pick any purple water caltrops,/For I resented their endless silken fibers—/Their nature is to entangle you.” “Silken fibers” is a common pun in traditional poetry: one hom onym of “silk” (ssu £k) means “thoughts” (ssu ®), especially thoughts of love (as in “ch’ing-ssk' fit©)- It seems that P’u was already “entangled” in thoughts of love. This is confirmed by poem number four, which begins with P’u “secretly praying to the Lover Stars on the DoubleSeventh Eve.” The allusion evokes the ancient folktale of Cowherd Boy and W eaver M aiden (personifications of Vega and Altair), who were forced to live apart and only allowed to be reunited once a year by crossing the Milky Way on the seventh night of the seventh lunar month. The reference suggests that P’u was in love and could not be with her lover. The allusion to Cowherd Boy and W eaver Maiden sets the tragic tone for the rest of the sequence. Poem number five depicts how P’u was sent back by her husband’s family to her parents’ home “for no reason.” The line “the handsome one’s waist became trimmer,” suggests that her husband was not responsible for abandoning her. Could it have been the mother-in-law who was not happy with P’u? Could P’u be a victim like Lan-chih in “K’ung-ch’iieh tung-nan fei” (Southeast the Peacock Flies)? The last lines of the poem m ake this interpretation a strong possibility: “The red wall cannot stop swallows from flying in pairs,/But I regret that they can’t convey my sorrow-/They only know how to peck mud to build their nests.” She went into her old bedroom , opened the gold-trimmed trunk and saw the “dust-covered light gown,” a reminder of her youth that now seemed so long ago. Poem num ber six describes what
happened after P’u was sent home. First she becam e ill. Though later she recovered physically, she continued to be in a lonely and wretched state: “When it comes to herbs, I plant only LiveAlone,/As to flowers, I don’t pluck Forget-Your-Sorrow.” Contact with her husband seems to have been cut off completely, and she doubted that he would understand even if she could communicate with him. The last three poems in the sequence are flashbacks to the days before and during her marriage to “the handsome one.” Poem num ber seven depicts her putting on makeup, as she thought about the man she would soon marry: “They said the man has the beauty of fine jade.” In a mood of anticipation, she was both happy and shy. Number eight suggests the cause of the tragedy. A cco rd in g to the “inauspicious matchmaker,” whom she overheard in her chamber, her future husband’s horoscope showed that he was to have two wives. Probably because of P’u’s humble origin (an embroiderer), she was chosen to be his concubine. “How was I to refute such nonsense?/ Born an immortal, I cannot follow just any man.” She would not be Emerald Liu, a girl from a poor family who later becam e the cherished concubine of Prince Ju-nan. However, the allusion also suggests that the prospect of marrying into a rich family might be the reason why her parents agreed to the match despite her protest. T he last poem describes the mistreatment that P’u had suffered at the hands of the first wife. I remember the oars on the Lonely River, Which in a hurry I mistook for peach roots; And I mistook a muddy puddle for a grassy lawn. The City of Madams was ten-feet high, But it could not confine flourishing spring.
I was assigned an empty chamber to inhabit by myself. Its embroidered carpet of green moss reminded me of the Long Gate Palace. My name was changed; each time I heard it I frownedThere is no evening rain, So why the name Morning Cloud?
T -m m m , mmmm?
The contrast between “coarse oars” and “peach roots” and between “grassy lawn” and “muddy puddle” suggest the adverse circumstances the poet found herself in. The second stanza depicts the solitary, humiliating life that P’u was forced to live. Separated from her husband, she did not experience the love and happiness that she had dreamed of. The wry references to the Long Gate Palace, where Consort Ch’en who fell out of favor with Em peror W u of the Han dynasty, and to the romantic interlude betw een the King of Ch’u and the Goddess of M ount Wu, make a bitter com m ent on her own situation: like Consort Ch’en, she lives in Eolation and dejection, and she is worse off than the Goddess of Mount Wu, because at least the goddess got to experience intimate love, however fleeting it may have been. The second allusion also evokes Chaoyiin (Morning Cloud), Su Shih’s (1037-1101)* faithful concubine who refused to leave the poet in exile. In contrast, P’u’s fate was more cruel. Despite its brevity, P’u Meng-chu’s sequence of nine lyrics to the tune of “Immortal by the River” gives a moving autobiographical account about a
talented, uncommon woman in lateimperial China. With each of the poems beginning with the phrase “I remember,” the sequence delineates P’u’s life from early childhood through adolescence, to womanhood. The narrative is character ized by a high degree of dram a and suspense through the em ploym ent of such devices as flashbacks, indirection, and recreation of lyrical m om ents. Despite the paucity of her extant work, P’u deserves to be recognized not only as a talented poet, but also as a woman of uncommon courage and dignity. Editions and References Hsii, Nai-ch’ang WJ 5M, ed. and comp. Hsiao-t’an luan-shih hui-k’o pai-chia kueihsiu tz’u 'h (foreword dated 1904). Translations Anthology o f Chinese (forthcoming).
Women
Poets
Michelle Yeh University of California, Davis San-kuo chih HIS/SC (Records of the Three States) is one of the most important of the standard dynastic histories. It is traditionally linked with Ssu-ma Ch’ien’s «]IS31f (145-ca. 86 B.C.) Shih-chi jfefB, Pan Ku’s JBES (A.D. 32-92) Han shu M m , and Fan Yeh’s (398-446) Hou Han shu v t m m as one of the Four Histories [Ssu shih E3j£), an indication of the high regard in which it has been held. San-kuo chih, which pre-dates Hou Han shu, is a crucial source of information and documents on the late second and third centuries, a time of tremendous social, economic, and political change and an age of high achievements in literature, im portant developments in religion, and prodigious military activity. It has long had an powerful impact on Chinese life through its influence on storytelling, vernacular fiction, drama, and religion. The book’s appeal has also
extended beyond China to Japan and other lands. W ritten by C h’en Shou |§ ||| (233297), a native of the Shu 10 region (modem Szechwan), the San-kuo chih is a history of the three separatist states of Wei m (220-265), Wu M (222-280), and Shu (or Shu H an IDM, 221-263) that were established as a result of the dissolution of the Han M : empire (206 B.C.-A.D. 220). The work is in the chi chuan IB'tt (annals and biographies) format originated by Ssu-ma Ch’ien and adopted by Pan Ku. But unlike their earlier histories, San-kuo chih lacks chih M (or shu Hr, treatises) and piao (tables) and is entirely made up of annals of rulers and biographies of individuals and groups. O f the sixty-five chiian that comprise San-kuo chih, thirty are devoted to Wei, fifteen to Shu, and twenty to Wu. There are relatively few textual problems with the work, and there is no doubt that these are Chen’s originals. Precisely when the history was written is unclear, but it may have been completed sometime after 280, the year the W estern C hin (266-317) conquered Wu, and before 289, the year Hsiin Hsii luffi died. According to Huayang kuo chih [Record of States South of M ount Hua], Hsiin expressed criticism of the Wei section. Contem poraries like Chang Hua (232-300)* and Hsia-hou Chan (243-291) praised C h’en and his history, as did later figures, including the literary critic and theorist Liu Hsieh §1!]$® (ca. 4 6 5 -ca. 522). Even so, it was not long before a need for elaboration and explanation of the text was felt. Em peror W en (r. 424-453) of the Liu Sung S!]^5 dynasty (420-479) ordered P’ei Sung-chih (372-451) to write a commentary. The completed commentary was submitted to the throne on 8 September 429. P’ei’s com m entary augments the text by quoting other sources; collects divergent versions of events; points out errors in the text and the alternative accounts;
and includes Pei’s own critiques of various inaccuracies in San-kuo chih and other texts, as well as of certain people and events. The Wei-Chin period was significant in the developm ent of Chinese historiography, and this latter feature of P’ei’s com m en tary is instructive for the insights it provides into that historiography. The commen tary also includes a relatively small amount of glossarial material. Virtually all published editions of San-kuo chih include the com m entary, which is perhaps as important as C h’en’s work itself as a repository of information on the age. Many scholars since at least the Sung dynasty have presumed that the commentary is much longer than the San-kuo chih proper, but this has recendy been disproved. Each has well over 300,000 characters, with San-kuo chih being substantially longer than the commentary. Despite die approbation San-kuo chih has generally received, it has also been criticized. Three early and perennial complaints levelled at C h’en are his alleged demand of payment to include biographies of Ting I and Ting I TJS, his putative disregard for Chu-ko Liang’s (181-234) talents due to a grudge he bore the Chu-ko family, and his treatment of Wei as the legitimate successor of the Han. The first two charges have been convincingly refuted by various C h’ing-dynasty scholars, as well as m odem scholars such as Miao Yiieh M M and Rafe de Crespigny. It is true that Ch’en bestows legitimacy on Wei in various ways, most obviously by placing Wei first and designating his chapters on its rulers chi &E (annals). But it is hard to see how he could have done otherwise-he was a Chin official, and Chin claimed succession from Wei. A final im portant criticism of San-kuo chik-one that has some m erit-is that Ch’en occasionally distorts matters his superiors may have found sensitive, but these instances must be considered on a
case-by-case basis to understand the reason for such distortions. Suffice to say that while San-kuo chih has some shortcomings, as early as the late Six Dynasties Ch’en was already seen as an outstanding historian who succeeded under difficult circumstances in pro ducing a valuable and credible history. The m ost useful redactions of the work today are the punctuated Chunghua shu-chii edition and the San-kuo chih chi-chieh edited by Lu Pi A 3® (1876-1967). The Chung-hua shu-chii edition first appeared in 1962, with a revised edition coming out in 1982. There are numerous reprints, and it should be understood that these sometimes introduce m inor changes, perhaps most often in punctuation. Lu Pi’s work, m odeled on W ang Hsiench’ien’s (1842-1918) Han shu puchu and Hou Han shu chi-chieh contains scholia by impor tant earlier authorities on San-kuo chih and its commentary, along with Lu’s own opinions. There are complete translations of San-kuo chih into m odem Chinese and Japanese, though only the one by Ts’ao W en-chu and others translates P’ei’s com m entary-som e do not even include it. There is no complete transla tion in a W estern language. The trans lator who has taken most broadly from the text is Achilles Fang, but since he was translating from Tzu-chih t ’ung-chien m m m , not San-kuo chih, only when the two texts overlap, and in occasional notes, does he translate San-kuo chih passages. Fang does translate relevant sections of P’ei’s commentary. O ther works that translate individual bio graphies and other parts of San-kuo chih are diverse in nature, so only a few that are mainly translations are listed in the bibliography below. Finally, it should be noted that the text of San-kuo chih, like the rest of the standard histories, is available on the Academia Sinica web site.
Editions and References Chang, Shun-hui Ts’ui Shu-t’ing Bill, and Wang Jui-ming eds. San-kuo chih tz’u-tien Tsinan: Shan-tung Chiao-yii, 1992. Ch’en, Shou. San-kuo chih. Peking: Chunghua, 1962. Hung, Yeh $£|jt et al., comps. San-kuo chih chi P’ei chu tsung-ho yin-te HYISIS, no. 33. 1938. Reprint Shanghai: Shang-hai Ku-chi, 1986. Kao, Hsiu-fang and Yang Chi-an $§ comps. San-kuo chih jen-ming so-yin Peking: Chung-hua, 1980. Lu, Pi, ed. San-kuo chih chi-chieh. 1936. Rpt. Taipei: Han-ching Wen-hua Shih-yeh Yuhsien Kung-ssu, 1981. Nakabayashi, Shiro and Watanabe Yoshihiro w & m m , eds. Sangoku shi kenkyu yaochilan H Tokyo: Hsin-wu Ooraisha, 1996. Miao, Yiieh, ed. San-kuo chih hsiian-chu HSU /tSSQI- 3v. Peking: Chung-hua, 1984. Miao, Yiieh et al. San-kuo chih tao-tu HBUS S|t#. Cheng-tu: Pa-Shu Shu-she, 1988. San-kuo chih so-yin Taipei: Tat’ung, 1986. Wang, T’ien-liang 3E^H , comp. San-kuo chih ti-ming so-yin |. Peking: Chung-hua, 1980. Translations Cutter, Robert Joe and William Gordon Crowell. Empresses and Consorts: Translationsfrom Chen Shou’s Records of the Three States with Pei Songzhi’s Commentary. Honolulu: Univ. of Hawaii Press, 1998. DeWoskin, Kenneth J. Doctors, Diviners, and Magicians of Ancient China: Biographies of Fang-shih New York: Columbia University Press, 1983. Fang, Achilles. The Chronicle of the Three Kingdoms (220-265): Chapters 69-78from the Tzu chih t ’ung chien of Ssu-ma Kuang (1019-1086) Glen W. Baxter, ed. 2v. Cambridge: Harvard University, 1965. Imataka, Makoto 4"UKjit, Inami Ritsuko # and Kominami Ichiro / J ^ —615. Sangoku shiELMfe- 3v. Tokyo: Chikuma Shob6, 1977-1989. Liu, Kuo-hui mmm et al. San-kuo chih (hsientai wen pan) (JS'ftlfcfiS). 2v. Peking: Hung-ch’i, 1992.
Lu, Chih'hsiao and Hai Ch’eng-jui eds. San-kuo chih hsiian-i m m . Lanchow: Lan-chou Ta-hsiieh, 1989. Su, Yiian-lei ed. San-kuo chih chin-chu chin-i 3v. Changsha: Hu-nan Shih-fan Ta-hsiieh, 1992. T’ien, Yii-ch’ing and Wu Shu-p’ing eds. San-kuo chih chin-i H. Chengchow: Chung-chou Ku-chi, 1991. Ts’ao, Wen-chu et al. Pai-hua San-kuo chih 2v. Peking: Chung-yang Min-tsu Hsiieh-yiian, 1994. T’ung, Ch’ao S£j£I, Chang Kuang-ch’in jjfi ytW), and Chang Sheng-ju eds. San-kuo chih ching-hua chu-i Qitf. Peking: Pei-ching Kuang-po Hsiiehyiian, 1993. Wang, Ching-chih JLW'^.et al. Pai-hua Sankuo chih SsSH JS*. Taipei: Ho Lo T’ushu, 1970. Studies Chang, Meng-lun §5;S#f. “P’ei Sung-chih San-kuo chih chu In Chung-kuo li-shih wen-hsien yen-chiu chik ’an 4«M££J**flF?SiliT!J. Changsha: Yiieh-lu Shu-she, 1984, pp. 32-37 Ch’ien, Ta-chao f t * ® (1744-1813). Sankuo chih pien-i In Shih-hsiieh ts’ung-shu (Pai-pu edition). Chou, I-liang Wei Chin Nan-pei ch’ao shih cha-chi Peking: Chung-hua, 1985. de Crespigny, Rafe. The Records of the Three Kingdoms. Centre of Oriental Studies Occasional Paper no. 9. Canberra: Australian National University Centre of Oriental Studies, 1970. de Crespigny, Rafe, trans. The Last of the Han, Being the Chronicle of the Years 181-220A.D. as Recorded in Chapters 58-68 of the Tzu-chih t’ung-chien of Ssu-ma Kuang Centre of Oriental Studies Monograph 9. Canberra: Australian National University, 1969. __ . To Establish Peace, Being the Chronicle of Later Han for the Years 189 to 220 a d as Recorded in Chapters 59 to 69 of the Zizhi tongjian of Sima Guang. 2v. Asian Studies Monographs, new series no. 21. Canberra: Faculty of Asian Studies, Australian National University, 1996.
Cutter, Robert Joe. “The Death of Empress Zhen: Fiction and Historiography in Early Medieval China.” JAOS 112 (1992): 577-583. Cutter, RobertJoe and William G. Crowell. “On Translating Chen Shou’s San guo zjir. Bringing Him Back Alive.” In Translating Chinese Literature Eugene Eoyang and Lin Yao-fu, eds. Bloomington: Indiana University Press, 1995, pp. 114-130. Fang, Pei-ch’en “San-kuo chih piaotien shang-ch’iieh” Ssuch’uan Ta-hsiieh hsiieh-pao 1987.1: 90-97. Gardiner, K.HJ. “Standard Histories, Han to Sui.” In Essays on the Sources for Chinese History. Donald D. Leslie, Colin Macerras, and Gungwu Wang, eds. Columbia: University of South Carolina Press, 1973. Leban, Carl. “Ts’ao Ts’ao and the Rise of Wei: the Early Years.” Unpublished Ph.D. dissertation, Columbia University, 1971. Li, Ch’un-chiao “San-kuo chih te lishih ti-wei” Li-shih hsiieh 1996.6: 53-58. Liang, Chang-chii (1775-1849). Sankuo chih p'ang-cheng Taipei: I-wen Yin-shu-kuan, 1955. Lu, Chien-jung Stlllfl. “P ’ei Sung-chih lishih p’ing-lun de ssu-hsiang kenyiian-chien lun tsun ching ch’uan-t’ung te hui-ying” In Chung-kuo lishih lun-wen chi Taipei: Shang-wu Yin-shu-kuan, 1986, 1:493517. Lu, Yao-tung “Pei Sung-chih yii Wei Chin shih-hsiieh p’ing-lun” Shih-huo yiieh-k’an (fu-k’an) 15.3-4 (January 1985): 93-107. __ . “San-kuo chih chu yii P’ei Sung-chih Sankuo chih tzu chu” In Chung-kuo li-shih lun-wen chi, 1:257-272. Miao, Yiieh. “Chen Shou yii San-kuo chit? In Chung-kuo shih-hsiieh shih lun chi Wu Tse & Jp and Yiian Ying-kuang 101$:%, eds. Shanghai: Jen-min, 1980, 1:313-322. Shen, Chia-pen (1840-1913). San-kuo chih chu so yin shu-mu I• II • In Ku shu-mu san chung ifr# |=j Peking: Chung-hua, 1964. __ . Chu shih so-yen i t St S'. 4v. Peking: Chung-hua, 1963.
Ts’ui, Shu-t’ing. “San-kuo chih pen-wen ch’iieh-shih to yii P’ei chu” Hua-chung Shih-fan Tahsiieh hsileh-pao, 1990.2: 122-126. Wu, Chin-hua San-kuo chih chiao-ku Nanking: Chiang-su Ku-chi, 1990. Yang, I-hsiang SIItIS- “P’ei Sung-chih yii San-kuo chih chi? In Wu and Yiian, Chung-kuo shih-hsiieh shih lun chi, 1:323-346. Robert Joe Cutter University of Wisconsin, Madison Shen Shan-pao (1807-1862, tzji, Hsiang-p’ei $8111) was a native of Ch’ien-t’ang m odem Hangchow in Chekiang province, an area known for its high concentration of educated and talented women in the C h’ing. A prolific poet and critic, Shen left behind two substantial collections of shih* poetry (over 1300 poems), a large collection of critical poetic biographies of women, and a small collection of tz’u* (song lyrics). In 1819, when Shen Shan-pao was twelve years old, her father committed suicide in Nanchang, Kiangsi, having been involved in some kind of power struggle in the local bureaucracy after serving for three years as the assistant d epartm ent m agistrate there. H er m other was left a widow with a brood of seven small children-five sons and two daughters, stranded in a strange land. It was not until a few years later that they were able to make their way back to Hangchow with help from relatives. This tragic and traumatic loss changed the course of Shan-pao’s life and in many ways shaped her sense of self and direction. As a twelve-year old, she wrote a long pentasyllabic verse “Shu ai” M S (Expressing my Grief) on this terrible occasion. The end of the poeri*- brings together the expression of anger with that of strength and filial devotion and the awareness of the limitations of her gender:
My thoughts go to seek the sword of Wu, And desire to learn the skill of the Chao girl. To the left I’ll stab my enemy’s breast, To the right I’ll gouge out the slanderer’s teeth. I hate my constitution, weak as the grass, With my hair unpinned, I am not a man. But I must support my sick mother, Weeping blood, her frame is almost destroyed. If I were to die for my father’s sake, Who would bring my mother simple food? Until the seas dry up and the shores change, The mountains collapse and the earth disintegrates, In deep grief I will hold onto this rending hate, Which will be there for all eternity. (Hung-hsiieh Lou shih-hsiian ch’u-chi w m m , i.2a-b) Much of the information concerning Shen Shan-pao and her family comes from her collection of poetry the Htinghsileh-lou shih-hsiian ch’u-chi W M (The First Collection of the Pavilion of Geese and Snow), which consists of four chiian with over 480 titles of shih poem s (over 500 poem s), w ritten between 1819 and 1835, and published in 1836. Because so much of Shen Shanpao’s poetry focused intensely on her ersonal life, it constitutes in fact her fe writings. In the diversity of women’s poetic production during the Ch’ing, the quality and quantity of her poetry provides an exceptionally rich instance for study. In several respects, Shen Shan-pao’s life and poetry provide interesting points of comparison with other women ppets: (1) the form and significance of the structural organization of her shih collections, (2) the generic choices and them atic preoccupations of her poetry, (3) the self representation which negotiates both the image of the filial daughter and the dedicated poet, and which decries the gendered restrictions she experiences,
g
and (4) the life of physical and social mobility associated with her literary and artistic-one might say, “professional” career. The Hung-hsiieh-lou shih-hsiian ch’u-chi does not merely take chronology as its structuring principle. Its meticulous year-by-year arrangement of the poems for each of the sixteen years effectively turns the collection into an autobio graphical orchestration. Such a con sciously chronological trajectory asks of the reader a different kind of reading process. H ere, the collection is not conceived of as a repository of inde pendent art pieces as such but as a statement of a person’s recognition of the significance of her experiences and life phases, of her growth and devel opment as a poet and as a daughter in a carefully marked temporal framework. Furthermore, she introduces and favors practices that inflect and accentuate the autobiographical aspect of her collec tion. These practices bear on the matter of generic and thematic choices, the insertion of interlineal and intra-textual prose commentaries, and the extensive use of prose prefaces particularly for poems of social interaction. Shen Shanpao wrote extensively in both old and recent style shih poetry. H er style and language tend toward the narrative and heroic mode. In her old-style poetry, the strong sense of m oral integrity and intense emotion often echoes Tu Fu tfc (712-770).* She seems to have eschewed the delicate feminine mode of expression, negotiating instead a relatively m asculine-heroic rhetoric. This is particularly evident in some of h er tz’u lyrics in which she clearly manipulates the well-established con vention of the m asculine hao-fang M tk** mode. Leading an unusual life compared to most other gentry women, in youth Shen Shan-pao made extensive travels to sell her paintings and poetry to support her siblings and mother, who died while she
was away on one of these trips. In 1837, she had her first collections, one of shih and one of tz’u, printed in Hangchow. She did not marry until thirty-one in 1838, a year after she had made a major move from Hangchow to Peking. She continued her active literary and social life after marriage, while fulfilling her responsibilities as the second wife to Wu Ling-yiin an official who was a widower with small children. In fact, she worked from 1842 to 1845 on the monumental biographical and critical collection of women’s poetry, the MingyUan shih-hua (Poetry Talk on Notable Women) in twelve chiian. This work is the result of a woman critic’s “feminist” motivation to gather and transmit the disparate efforts of coundess women of the C h’ing period—some renowned but many unknown-to voice their gender and inscribe their selves through the medium of poetry. H er means to this end was to incorporate their lives and poems into a printed text. At the same time, some of her own personal records and recollections are interspersed with the objective com pilation of other women’s poetry. Each entry is usually introduced by a brief biographical sketch before a selection of poems are reproduced, sometimes with and sometimes without Shen’s comments. The form of the work, on the one h an d , observes certain established conventional hierarchizations in anthologies of poetry such as placing the work of the “marginalized” groups-B uddhist and Taoist nuns, Korean women, and female ghosts and imm ortals-at the end of the collection, on the other hand, it also follows new shapes and contours that are guided by a “feminine” focus in that it traces the gendered experiences of the women whose works she records and writes about. T here are thus m eandering narratives of her meaningful friendships with some women which thread through different entries and short life histories
of others whom Shen had come across in some way, through personal contact, correspondence, or hearsay. The first eight chiian of the Ming-yUan shih-hua were reprinted as a monograph by the Shanghai newspaper YU-yen pao in the 1910s. Shen was a respected poet and critic am ong h e r w om en friends and acquaintances. She edited and wrote critical comments on poetry manuscripts which were sent to her by the authors themselves or were brought to her attention by others. Shen also had another collection of her poetry printed which includes the entire first collection (chiian 1 to 4) and contains the sequel (chiian 5 to 15) to it (sole extant copy in the Chekiang Library). The poems in the sequel are also arranged by year, beginning from where the first collection left off when she left Hangchow for Peking in 1837 and ending with the year 1854 when she was accompanying her husband on his official post in the far northwest. This collection seems to have been hastily put together, for the last two chiian are reversed in chronological order. The date of the printing is also not recorded. With the exception of a few journeys, Shen Shen-pao spent the latter half of her life in Peking. As seen in the occasions and subject of her poetry, female friendship became more than ever an im portant aspect of her social and emotional life. In this respect, she exemplified the value of friendship for many literary women of the Ch’ing. Shen continued to write epistolary poems to some of her women friends back in Hangchow, particularly the tz’u poet Wu Tsao In Peking, Shen became a close friend of another famous tz’u w om an poet Ku T ’ai-ch’ing H A vit (1799-after 1876; see Ku Ch’un H #**). Both their collections contain many of the poems they exchanged. They formed a poetry society with a number of other g entry w om en, m ostly from the
Kiangnan area, who sojourned in the capital while their male kin were on official assignment there. These women acted as inspirations to each other in writing. According to a poem by Ku T ’aich’ing mourning her death, Shen Shenpao apparently died in 1862, but the details of her last years, without any further extant self writings in poetry or prose, remain rather obscure. Editions and References Hung-hsiieh Lou shih-hsUan ch’u-chi m m m m m w m . Four chiian. Printed 1837. Copies in Peking, Shanghai, and Nanking libraries. Hung-hsiieh Lou shih-hsiian $§3f$£HfMl. Fifteen chiian. Printed after 1854. Copy in Chekiang Library. Hung-hsiieh Lou shih-hsiian ch’u-chi Four chiian. 1924 type-set reprint. Copies in Peking, Shanghai, Nanking, and Chekiang libraries. Hung-hsUeh-lou tz’u In Hsiao-t’anluan-shih hui-k’o Kuei-hsiu tz’u m m nm . Ming-yiian shih-hua Twelve chiian. Preface 1845. Copy in Peking University Library. Ming-yUan shih-hua. Eight chiian. 1924 type-set reprint based on incomplete copy. Copies in Shanghai, Chekiang, and Hangchow University libraries. Ming-yiian shih-hua. Four chiian. In Ch’ing shihhua fang-i ch’u-pien Taipei: Hsin-wen-feng, 1987. Translations Anthobgy of Chinese Women Poets, forthcoming 1998. Studies Chao, Po-t’ao MfSP®. uHung-lou-mengying te tso-che chi ch’i-t’a” Sftfe, Hung-lou-meng hsiieh-k’an 3 (1989): 243-251. Fong, Grace S. “Engendering the Lyric: Her Image and Voice in Song.” In Voices of the Song Lyric in China, pp. 107-144.
Grace S. Fong McGill University
Shen Ya-chih (tzu, Hsia-hsien T S f, 781-832) was descended from the well-known Shen family of Wu-k’ang 3£]it in W u-hsing which also produced the poet Shen Yiieh (441-513)* and Ya-chih’s cousin, Shen Chi-chi (ca. 740-ca. 800),* a historian and writer of tales. Shen Yachih was distantly related to Tai-tsung’s (r. 762-779) Empress Shen, the mother of Te-tsung (r. 779-805). Shen seems to have be bom, however, in Lung-chou PH'H'I (modem Lung H County in western Shensi— about 100 miles west-northwest of C h’ang-an) where his father was stationed. Shortly after his birth his father passed away and the family returned to the southeast (he apparently had relatives both in Hangchow and Soochow). W hen the family moved back south, Shen may have remained in the capital with his uncle Shen C h’uan-shih (769827). In 803 in his early twenties he arranged to take a concubine from a good family in Ch’ang-an: Lu Chin-lan M &W (tzu, Chao-hua 789-814) who had studied music and dance and bore Shen a son and a daughter. Sometime a bit earlier he had married a woman nam ed Yao In 805 Shen returned to the southeast, taking wife and concubine with him. For the n ex t few years Shen presumably studied while living with relatives. Then in 809, Shen Ya-chih did two things that he would continue to do in later years. First, he stopped at a monastery in Hangchow and inquired about the history of a statue of the Buddha that was being moved; then he recorded the story that the monks told him (“I Fo chi” ^ ^ § 3 [Record of Moving the Buddha]; Ch’iian T ’ang wen 736:9619). Throughout the rest of his life Shen would remain interested in listening to and recording stories. Second, he (with his wife and concubine) retraced the long route to C h’ang-an w here he was to take the chin-shih
examination the following spring. His subsequent years were also beset by arduous travel, as he searched for a position early in his career and later was called upon to move from one post to another. In the spring of 810 and again in 811 Shen failed the chin-shih examination. During this period he met Li Ho (791-817)* and Nan Cho I t # (?791854), also c a n d id a te s fo r th e examinations. Frustrated with his lack of success, Shen left C h’ang-an in the summer of 811 and went from Fu-chou (modern Fu H? county in Shensi about 100 miles north of the capital) to Lo-yang and finally all the way to P’engch’eng (modern Hsii-chou City in Kiangsu) in search of someone to sponsor him in the examinations. O n this trip, possibly at Li H o’s suggestion, he seems to have m et H an Yii (768-824),* who was in Lo-yang and who had been supportive o f Li H o ’s examination efforts. Shen later claimed to have been H an’s disciple for over a decade. After failing to pass the chin-shih in 812, Shen Ya-chih went home for a short time. Li H o and C hia Tao (779-843)* wrote poems seeing him off. Shen left his wife and concubine in Ch’ang-an and that winter returned to them in the capital. The following spring Shen did not take the examinations. Instead he w ent to Ching-chou S'J1!'! (modem Ching-ch’uan ®JI| county in west-central Shensi); that summer he was in Lu-chou $§#( (modem Ch’ang-chih Shih HT&rlf in Shansi). In 814 he again eschewed the examinations, travelling east along the Yellow River to Han-tan and then south to his home region. O n the return later that year he passed through Hua-chou tPH1!'! (modern H ua County in northeast Honan) and visited the military governor (chieh-tu shih ffi), Hsiieh P’ing P 3? (d. 830), a wellconnected scion of an old military family. Shen’s concubine, and later his wife, died
during this year. In 815, with Ts’ui C h’un W t (772832), H an Yu’s fellow-graduate, as examiner, Shen Ya-chih passed the chinshih and joined the staff of Li Hui the son of the Prince of Lin-huai I E , Li Kuang-pi as a record keeper (chi-shih IB ^ ). Li H ui was married to one of Shen’s cousins and h ad ju st been appointed M ilitary Governor of Ching-yiian S M (in charge of the Ching-chou MlH'l area). During the early summer Li Hui entertained a group of his officials and guests with a story about a dream encounter his mentor, Hsing Feng fflSj®,, had enjoyed. In the dream he met a beautiful woman who exchanged poems with him. When he awoke and changed his clothes, he found the poems stuck in one of his sleeves. Then another guest told a similar story. The party agreed that these tales should be w ritten down, so Shen fashioned them into an account of the storytelling that day and tided it “I-meng lu” (Account of Dreams of the Extraordinary; Tang-jen hsiao-shuo, pp. 160-161). This “account” was in keeping with Shen’s idea that he was a historian first and foremost The fact that he among the various literati present was allowed to write up the story shows that already at this time he had a reputation as a skilled story-writer. Li Hui had obviously provided a milieu in which Shen might have thrived; unfortunately, however, Li passed away later that summer (Shen wrote the memorial inscription for him), leaving Shen unemployed. He returned to Ch’ang-an shortly thereafter. A few months later Shen was in Lo-yang again; he stayed with Fang Shu-pao a friend of Nan Cho. While in Lo-yang, he wrote “Piao Liu Hsiin-lan” 0 .m M m (In Praise of Liu Hsiin-lan, Ch’uan T ’ang wen, 738:9651), recording the story of how Fang’s young concubine had persuaded him to give up drinking in favor of study. After a short stay with Fang, Shen passed through P’eng-ch’eng
and visited an old friend, Ts’ui Chii f t H ofPo-linglflg. Ts’ui had a concubine who was a talented singer named Yeh M whom Shen had heard perform a few years earlier (probably in 811). When he asked about her on this visit, he discovered she had just died. Because Shen felt an account of her talent should be left for posterity, he depicted some events from her life in a piece called “Ko-che Yeh chi” (Record of the Singer, Yeh; Ch’iian T ’ang wen, 736:9627-27). The piece is particularly interesting because it uses a traditional story about the ancient singer Ch’in Ch’ing ISW to introduce the account of Ms. Yeh, a technique not unlike the ju hua A IS in the hua-pen |§2|£* stories of later dynasties, and because the depiction of Yeh’s life is cast in language very similar to that of ch’uan-ch’i tales. From P’eng-ch’eng Shen Ya-chih went back to Hangchow. Early in 816 he visited Mount K’uai-chi for a period of time, then decided to return to the capital. Passing through Shou-chou H 'j ’H (modern Shou County in Anhwei) he wrote a letter to the prefect, Li Went’ung seeking his aid in finding a position. Shen remained in Shou-chou for a time because the prefecture was embroiled in the revolt led by W u Yiianchi’s (d. 817). Having returned to the capital, Shen visited C h’i-chou llftlH'l (near modern Feng-hsiang JH.^0, about 70 miles west of Sian) and Lung-chou ffi'J'H (modern Lung County in west-central Shensi) during the summer of 817. The following year he travelled eastward almost as far as modem Shantung (to Ssu-shang in extreme eastern Honan). Each of these visits was probably to enhance Shen’s growing network of friends and possible patrons. His poem “Pien-chou ch’uanhsing fu an-p’ang so-chien” M (Depicting W hat I See Along the Shore from a Moving Boat at Pienchou, Ch’uan T ’ang shih, 493:5579) was probably written on this trip:
Ancient trees in the early light have gone greyThe autumn forest brushes the bank with fragrance. Pearls of dew, the “spider’s web” so fine, Threads of gold, the “rabbit’s hair” so long. Autumn waves from time to time throw back in foam, Startled fish of a sudden bump against the boat. The milkweed’s mist catches hold of green [willow] threads, The sour jujube’s fruit stitched into red sacks. Riotous ears of grain wave like flyingsquirrels’ tails, Protruding roots hang down like phoenix entrails. I’m merely holding one washed footWho says I could be compared to the Ts’ang-lang [poet]? * * * »
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“Rabbit’s hair” is a euphemistic name for a plant which grows by winding up a tree; “spider’s web” may have a similar reference. This type of imagery, along with verses like “Riotous ears of grain wave like flying-squirrels’ tails, / Protruding roots hang down like phoenix entrails” reflect the difficult diction and figurative language of H an Yii and his disciples (Han Yii mentions the flying squirrel three times in his extant poetry and his line “Hugging the road the sparse locust trees put forth their old roots” $5 may have been the basis for the tenth line in Shen’s poem). The final couplet alludes to the author of the Ch’u tz ’u C h’u Yuan jS Jf (ca. 340-278 B.C.),* and is Shen’s attempt to excuse his failure to find a position by suggesting that he would not want to serve a government as unenlightened as that then in Ch’ang-an.
Also in 818 he learned from friends of a story told in a yiieh-fu poem (or poems) written by W ei Ao It involved the love affair between a “dragon-lady” and a young scholar and has been compared to the more famous story “Liu I chuan” by Li Ch’aowei {fl. 800). Shen gave it the title “Hsiang-chung yiian chieh” M (An Explanation of the Laments written in Hsiang; Tang-jen hsiao-shuo, pp. 157-159), suggesting that the poems he includes in his narrative may have been those left by Wei Ao. Shen claims that he composed his piece to match “Yen-chung chih chih” by his friend Nan Cho (a version of this story has been preserved in LU-ch’uang hsin-hua l&Sfiffte (New Tales from the Green Window). Yet another story came as the result of a trip east from the capital Shen made with his friends Li Pao and Li Mengt’ung in 819. They stopped at Pai-maChin S /U S (White Horse Ford, near Hua-chou) before continuing east along the Yellow River. He revisited Hua-chou (Shen had been there earlier in 814) and recorded an account he heard from Liu Yiian-ting (chin-shih 789) about a knight-errant named Feng Yen (“Feng Yen chuan” Tang-jen hsiao-shuo, pp. 165-168). Feng had served the noted scholar and chief minister, Chia Tan Wife (730-805) when the latter was military governor of the area from 786-793. Feng was carrying on an affair w ith the garriso n commander’s wife. O ne day the man came home from a drinking bout and surprised the adulterous couple. Feng hid behind a door and, when the husband passed out, his wife made signs indicating Feng should kill him. Feng was outraged by her suggestion and killed her instead, then fled. W hen he learned that the husband had been charged with the murder, her turned himself in. Chia Tan oversaw the case and petitioned the e m p e ro r to p a rd o n F eng. A
proclam ation was issued granting amnesty to all who had received the death penalty in Hua-chou. At the end of the story Shen Ya-chih added a personal “historian’s comment” imita ting the doyen of Chinese historians, Ssum a Ch’ien (145-ca. 86 B.C.),* in w hich he praised Feng for his righteousness. These events may well have actually happened (Lu Hsiin does not include the story in his T ’ang Sung ch’uan-ch’i chi suggesting he may have believed it was a record of a real incident), but in his adaptation of the story to create a moral tale Shen reveals a growing confidence in his narrative skills. The tale may also have been written to flatter a relative or associate of C hia Tan and thereby establish another possible connection for Shen in his search for a position. For most of 820 Shen seems to have remained in Ch’ang-an. In the spring of 821 he passed an advanced placement examination and was probably appoint ed proofreader (cheng-t&i IE ^ ) in the Secretariat (Mi-shu sheng l & l t # ). Later that spring and again in 822 he visited local officials in Hua-chou (modem H ua County, 45 miles east of Sian) and Lung-chou, presum ably still seeking advancement in his official position. In late sum m er of 822 he was made Commandant (wei It) of Li-yang (25 miles northeast of m odem Sian), a position he held for almost two years. Although this was a m inor position, it left him close to the capital and to the contacts he had established. In 824 he received a promotion to Assistant Military Training Commis sioner {Tu T ’uan-lien fu-shih $!) of Fu-chien and neighboring prefectures and sent to serve under the new Civilian Governor (Kuan-ch’a shih of Fu-chien, Hsii Hui (d. 838), with headquarters in Fu-chou $g #1 (modem Foochow). Sometime during this sojourn in the Southeast (Hsii Hui was recalled to court
in the early autumn of 826 and Shen Ya-chih presumably returned to Ch’angan with him), Shen probably wrote two other “stories.” The first, entitled “Hsi-tzu chuan” (Biography of Hsi-tzu; Ch’iian T ’ang wen 738:9649-50), recounts how Hsi-tzu, a concubine of a merchant named Liu C h’eng M M , resisted the improper advances of Liu’s neighbor, a Master W ei # . W ei then had Liu imprisoned on trumped up charges in order to lay claim to Hsi-tzu. She attempted to drown herself, b u t was saved by a passerby, and Liu was finally released. The story is set in 809 and was told to Shen by a Master Ch’eng IS. Shen wrote it down because he was im pressed w ith H si-tzu’s u p rig h t behavior. This conventional plot recalls a number of similar stories in Chinese literature, but may here have been superimposed upon an actual situation. The second story, “Piao i-che Kuo Ch’ang” (In Praise of the M edical Practitioner Kuo C h ’ang; Ch’iian T ’ang wen 738:9651), tells of a physician who lived in Jao-chou H'Jtf (near m odem Po-yang in Kiangsi) and who was so skilled that m any foreigners trading in South China sought his advice. O nce a m erchant was seriously ill and could find no one who knew how to treat his illness. H e offered Kuo a huge sum of money if he could save his life. Kuo cured the man but then refused the money because he thought giving up so much would cause the man to have a relapse and die. This kind of idealized biography with a comment appended much like an official biography was probably intended as a m eans of m oral suasion. It finds antecedents in works like Liu Tsungyiian’s W tf Tu (773-819)* “Sung Ch’ing chuan” (Biography of [the Druggist] Sung Ch’ing). Shortly after returning to Ch’ang-an, probably with Hsii Hui’s assistance, Shen was appointed aide to the royal scribe in the palace (Tien-chung ch’eng yU-shih
and subsequently palace attendant (Nei shih feng Also in 827 Shen wrote “Ch’in meng chi” §2 (Record of a Dream of Ch’in; T ’ang-jen hsiao-shuo, pp. 162-164, in which he records a dream he claims to have had upon setting out for Pin-chou (modern Pin County in west-central Shensi, 65 miles northwest of Sian). Stopping at an inn not far from the capital the first night, Shen falls asleep and believes he wakes up in the state of Ch’in Hi during the reign of Duke Mu Hi (r. 659-621 B.C.). H e is showered with favor by the duke, marries his daughter, and is truly living a dream life. After a year, however, his wife dies and he decides to return to his own country. After an elaborate description (complete with poems) of the farewell festivities, Shen is accompanied to the Han-ku Pass where before he can say good-bye he wakes up. W hen Shen and his friend Ts’ui Chiu-wan set out from the inn the next day, he tells Ts’ui about his dream . Ts’ui helps to interpret it by pointing out that the inn where they had stayed was very near the place where Duke Mu was buried over a millennium ago. This p lo t is also fam iliar-it resembles Li Kung-tso’s (ca. 770ca. 848)* “Nan-k’o T ’ai-shou chuan” I t (Account of the Governor of Southern Branch) and Shen Chi-chi’s (ca. 740-ca. 800)* “Chen-chung chi” (A Record of [Events] within a Pillow). The year 828 was a watershed for Shen Ya-chih After finally securing a position at court, events beyond his control adumbrated the end of his career and his life. In the early fall the Military Governor of Ho-pei Yen-huai MJfcxi M , Liu T ’ung-chieh rebelled. Shen was assigned (as an administrative assistant [p’an-ktian ^JUT]) to the staff of one of the generals, Po C h’i f t HI, sent to put down the rebellion. Po Ch’i had fought against the rebel W u Yiian-chi under P’ei Tu U S (765-839) and was
determined to bring Liu to justice. In early 829 while a compromise plan calling for Li T ’ung-chieh to surrender was being negotiated by other generals, Po Ch’i rushed into Li’s camp, arrested the rebel leader, and set out for the capital with him. U pon learning of a plot to free Li en route to C h’ang-an, Po C h’i on his own authority executed Li T ’ungchieh. As a result Em peror Wen-tsung came under pressure from Po C h’i’s jealous colleagues, from other provincial satraps, and from a group of eunuchs allied with provincial forces to punish Po Ch’i and his staff. In late spring Shen was therefore exiled to become Com m andant of Nan-k’ang ItJf? (modem Nan-k’ang in southern Kiangsi). Chang H u ‘M'fe (791-854) and Yin Yao-fan wrote poems to see him off. He spent three years in Nan-k’ang and then was transferred to Ying-chou j§|3j'l'l (mod em Chung-hsiang MM- in Hupei) in 831 as revenue administrator (ssu-hu ts’anchiin Not long after his arrival in Ying-chou, Shen became ill and died. Although he had a reputation as a poet in his own day (cited along with Wei Ying-wu # ] § $ / (737-ca. 792)* and others in the preface to the literati chapter in the Hsin T ’ang shu [New History of the T’ang], 201:5726), only two dozen of his poems remain today. W hat should interest the m odem reader is the variety of narrative in Shen’s corpus and the development of his narrative art that can be seen in his prose (80 pieces are extant). Shen began by reporting simple stories like his “Record of Moving the Buddha” (809), next adapted narratives in other genres like “An Explanation of the Laments written in Hsiang” (from yiiehfu; 817), was then asked to record stories such as “Account of Dreams of the Extraordinary” (815), adapted popular tales like the “Account of Feng Yen” (819) to didactic purposes, and finally exercised his own unconscious or conscious creativity in works like “Account of a Dream of C h’in” (827).
H e also wrote allegories such as “I-niao lu” HtJlsfsS (Account of the Bird of Propriety; undated; Ch’Uan T ’ang wen 737:9637-38) which show the influence of the ku-wen movement. His own narrative legacy may be seen to support both Lu Hsiin’s idea that T’ang hsiao-shuo m arked the first consciously created fiction in China as well as the claim by m odem critics (Pien Hsiao-hsiian H and Glen Dudbridge, for example) that the ch’uan-ch’i genre was closely tied to politics and political expression. Editions and References Ch’iian T’ang-shih, 493:5578-84. Ch’Uan T ’ang-shih wai-pien, 2:466. Two fragments. Ch’iian T'ang-wen, 734-738:9585-9654. Shen Hsia-hsien wen chi ilfcTK3t2ll» 9 chiian. SPTK. Ssu-k’u, 150:39b-41b. Tang-jen hsiao-shuo, pp. 157-168 (standard edition of “Hsiang-chung yiian chieh,” “Imeng lu,” “Ch’in-meng chi,” and “Feng Yen chuan”). T’ang Sung san-wen hsilan-chu Shen Ping, comm. Taipei: Cheng-chung, 1968, p. 117. Lightly annotated version of “Pieh-ch’ien Ch’i-shan Ling Tsou Chun hsii” SO Yii, Chia-hsi “Shen Hsia-hsien chi shiherh chiian” In Yu’s Ssuk ’u t ’i-yao pien-cheng Peking: Chung-hua, 1974, chiian 20, pp. 1294-96. Translations Hartman, Han Yii, p. 165 (excerpt from “Sung Hung Sun hsii” [Preface Seeing Off die Master Hung Sun]) Ma and Lau, Traditional Chinese Stories, pp. 50-51 (“Feng Yen chuan”). Kao, Chinese Classical Tales, pp. 205-08 (“Hsiang-chung yiian chieh”). Studies Chang, Ch’uan-kung 3 8 ^ ^ . “T’ang wen-jen Shen Ya-chih sheng-p’ing” Ift3tA£fe35 £ £ ¥ , Wen-hsiieh, 2.6(1934). Ch’eng, I-chung “Shen Ya-chih chi ch’i ‘Ch’in-meng chi’- T ’ang-tai hsiao-
shuo so-chi” E—ISA/J' T’ang-tai wen-hsiieh. lun-ts’ung, 5 (1984). Fukunaga, Ichitaka S'^c— “Chin Ashi no shidenteki sakuhin” In Obi Hakushi taikyu kinen Chugoku bungaku ronsM Tokyo, 1976. Hu, Wan-ch’uan J11. “‘Feng Yen chuan’ chi ch’i hsiang-kuan hsi-lieh ku-shih te li-chieh” m. In Hsiao-shuo hsi-ch’ii yen-chiu Taipei: Lien-ching, 1995. Ii, Chien-kuo 2£$JIS. T’ang, Wu-tai chih-kuai ch’uan-ch’i hsii-lu !£$$:. Tientsin: Nan-k’ai Ta-hsiieh, 1993, v. 1, pp. 380-95 and 404-10. See especially the fine discussion of Shen’s life, pp. 380-95. Lin, Ch’en #S§. “Lu Hsiin yii T’ang-tai ch’uan-ch’i tso-chia Shen Ya-chih” f££fcfc3S£, Lu Hsiin yen-chiu, 2 (1984). Liu, Yen “Shen Ya-chih yii Shen Tzu ming-pien” Hu-nan Shih-yiian hsiieh-pao 1983.2. Lu, Hsiin #3fi. Chung-kuo hsiao-shuo shih liieh Peking: Jen-min Wenhsiieh, 1973 (rpt. of 1925), ch. 8, pp. 59-60. Wang, Meng-ou jEEPlH. “Shen Ya-chih chih sheng-p’ing chi ch’i hsiao-shuo” In Wang’s T ’ang-jen hsiao-shuo yen-chiu Taipei: I-wen, 1973, v. 2, pp. 97-106. Wu, Ch’i-ming annot. “Shen Yachih.” In T’ang ts’ai-tzu chuan chiao-chien f k ' t Fu Hsiian-ts’ung WMM, ed. Peking: Chung-hua, 1990, v. 3, pp. 86-93. Excellent annotation. Uchiyama, Chinari “Chin Ashi to ‘Shinmuki’ sono hoka ni tsuite” In Uchi yama, Zui To shosetsu kenkyu £g. Tokyo: Mokujisha, 1978, pp. 489-546. __ . “Chin Ashi to sh6setsu” 11 Chugoku bungaku hd 12(1960): 85-134. Yang, Sheng-k’uan “Ch’iian T’ang shih wai-pien so shou Shen Ya-chih i-shih chiieh-chu te chen-wei wen-t’i she-hui k’o-hsiieh (Lan-chou), 1986.3: 82-84. William H. Nienhauser, Jr. University of Wisconsin, Madison
Shih C hieh 5 / i ' (tzu, Shou-tao tF H or Kung-ts’ao hao, Ts’u-lai Hsiens h e n 1005- 1045) was a pioneer in the early Sung ku-wen (ancient-prose style) movement* as well as a forerunner of the “Sung Learning.” Born in Feng-fu County of Yenchou jJS'J'H (modem Shantung), his family had been peasants until his father, Shih Ping (969-1040), found a lowranking post in the local government (he became county prefect in his sixties). In his youth Shih Chieh went to study in the provincial school of Ying-t’ien-fu (modem Honan), which was then directed by Fan Chung-yen ^£{4^ (989-1052). Influenced by his teacher, he later became an adherent of Fan’s reform policies. At that time he also traveled the W ei St (modern Hopei) area, where the earlier ku-wen advocate Liu K’ai 0PNI (947-1000)** had been bom , and wrote “Kuo Wei tung-chiao shih” (Poem on Passing the Eastern Suburbs of Wei), showing his admiration of Liu’s writing. In 1030 he passed the chin-shih examination. From 1030 to 1038 Shih Chieh served as a local official in Yiin-chou (modem Shantung) and Ying-t’ien-fu. During this period he made the acquaintance of Sun Fu (992-1057), a scholar who had failed the chin-shih examinations four times and who upheld that literature should be the m odern equivalent of Classics. Since both cherished a number of similar ideas, the two became life-long friends. Although Sun Fu then held no position, Shih Chieh wished he could rally others under Sun’s leadership to combat shih-wen (“current prose,” i.e. p ’ien-t’i-wen © fft^t,* parallel prose), which he regarded as shallow and florid, and to restore the Way of ancient sages. In 1035, Shih Chieh established a lecture hall for Sun at T ’ai-shan # ill and served him as a teacher. A num ber of their followers became engaged in writing kuwen and studying the Classics. They formed a so-called “T ’ai-shan School,”
which played a key role in the philosophical as well as the literary development of the Sung dynasty. Chu Hsi (1130-1200) later wrote, “It is surely good that Sun [Fu] and Shih [Chieh] suddenly appeared and enjoyed discovering the correct [or “orthodox”] principles. For ages there had not been men of such rank” (Chu-tzu yti-lei M M , chuan 129). Another close friend was Ou-yang Hsiu IK U fi (1007-1072),* who passed the chin-shih examination the same year as Shih Chieh. On reading Shih Chieh’s writing, Ou-yang Hsiu was impressed by the vehemence and straightforward ness of its expressions. He was worried that such writing would easily incurred the criticism of petty men, thus he admonished Shih not to “criticize current events in an excessive manner” (ti shih t ’ai A:«o®B#^cj©). Shih Chieh obviously neglected his advice, and this proved to be a fatal weakness in his official career. When he served as an educational official in Ying-t’ien-fu, he ordered that the images of Buddha and Taoist immortals be removed, allowing the worship only of the Confucian sages, although his im m ediate su p erio r b eliev ed in Buddhism. In one of his letters, he criticized the emperor for being too fond of women; consequently, his promotion was blocked. From 1038 to 1042, Shih Chieh was in mourning for his parents and stayed at Mount Ts’u-lai, where he taught the Classic o f Changes. People thus called him the “Master of Ts’u-lai.” In 1042, both Shih Chieh and Sun Fu were summoned to the capital to be Lecturers of the Directorate of Education (Kuo-tzji-chien Chih-chiang At that time, due to the reform policies of Fan Chungyen and Ou-yang Hsiu, the National University (T’ai-hsileh A § l) flourished, the number of the students soaring from several dozen to several thousands. Shih availed himself of this opportunity and spared no effort in promoting ku-wen.
H e proclaimed that those who wrote current prose would be condemned. Consequently the writing style of the time was altered, few students continuing to write current prose. Not satisfied with teaching only writing, Shih Chieh encouraged his students to discuss current state affairs. In 1043, Fan Chungyen and others began to apply a series of reforms. Shih Chieh enthusiastically supported this move and wrote a poem titled “Ch’ing-li sheng-te sung” M M M W 'M (Hymn on the Sage Virtue of the C h’ing-li Era [1041-1049]) which made his feelings clear. The poem obviously caused a great sensation at that time, considering the fact that Su Shih (1037-1101),* then only a seven-year-old schoolboy in a remote area in Szechwan, was able to recite it. However, the consequences were disastrous. In the poem, Shih Chieh blundy criticized Fan C h u n g -y en ’s p olitical opponents, thereby inviting attack from other factions. The reforms were abolished soon afterwards, and Shih Chieh had to leave the court in 1044. Besides current politics, another major theme of Shih Chieh’s writing was the restoration of the orthodox tradition of Confucian Classics. This required him to com bat Taoism and Buddhism, because they were heterodox by nature. H e expressed this clearly in his “Chungkuo lun” (Discourse on the Central Kingdom): “I have heard that there was a giant who was called ‘B uddha.’ H e came to the Central Kingdom from the West. There was a m an of hoary brow who was called Tan ift. H e came to the Central Kingdom from the H u . . . . each used his ‘way’ to alter the W ay of the Central K ingdom .” Although previously no record showed that Tan (i.e. Lao Tan or Lao-tzu) was from West, Shih Chieh deliberately distorted historical fact to strengthen his argument. According to Shih Chieh, the current-prose style was another evil because it focused only on
superficial beauty and thereby kept people from seeing the essence of writing, that is, the Way of ancient sages. Shih C hieh’s prose w riting also revealed his concerns about current affairs. His T ’ang chien (The T ’ang as a Mirror, originally in five chuan, now available only in fragments) as well as a number of lun H (discourses) on major political figures of the T ’ang discussed the success and failure of that dynasty’s governm ent, intending to m ake the current ruler take heed. His “Tse suts’an” (Criticizing Those W ho Live Off Others) and “Lu wei-che yen” (Record of the W ords of a Humble Person) sympathized the lives of commoners, strongly criticizing those officials who failed to do their duty. Similarly, his “Cheng Yiian chuan” TCff (Biography of C heng Yuan) extolled the heroic and filial deeds of a commoner, who went deep into Khitan territory to retrieve his father’s corpse. Ou-yang Hsiu summarizes Shih Chieh’s w riting as follows: once h e felt impassioned, he wrote down his feelings. H e praises or condem ns w ithout reservation. In his eloquent and forceful discussion, he talks freely about the whole span of ancient and m odern events. His works may astound or even agitate the common people, but they nonetheless show the author’s great strength and courage. In his extant works, Shih Chieh has 144 poems, 64 in the ancient style (ku-shih ife’g#). Like his prose, most of his poems are permeated with strong feelings. In his "Tu Shih An-jen hsiieh-shih shih” (Reading the Poems of Scholar Shih An-jen) and “Shih Manch’ing shih-chi h sii” S H W ftlfcF ? (Preface to the Poetry Collection o f Shih Man-ch’ing), he praised the heroic and forceful language in the poems of Shih Y en-nien (tzu, Man-ch’ing, 994-1041), and also expressed his disdain for the decadent style of a contemporary circle of poets. In fighting
against florid language, he advocated a style which is simple, vigorous, and without ornamentation. His “Pi hsien li” (The Officials of That County) and “Tu Chao-shu” SUSUr (Written on Reading an Im perial Edict) both expressed indignation at greedy officials, whom he compared to tigers and wolves. “Ho chueh” |5J?& (The Yellow River Burst) described the disastrous scenes of a floods from antiquity to the present, urging the ruler to emphasize control of the river. “T ien Ch’u” f t M (The Pien Canal) points out that a single man (the emperor) has profited from die flesh and blood of the commoners who built this canal centuries before and have maintained it since that time. “Hsi-pei” (The Northwest) showed his concern about the conditions of the W estern frontier and criticized the generals who were supposed to be maintaining a defense there. In all these poems, he used straightforward language to recount and comment on important current events and showed his concern for his state and its people. Like his predecessor Liu K’ai, Shih Chieh in his emphasis on the ancient Way did not pay enough attention to the niceties of prose style. Under Shih’s influence, a laconic but lackluster style replaced the current-prose style and became dominant in the world of letters. It was not until Ou-yang Hsiu became chief examiner in 1059 that Ou-yang’s more elegant ku-wen took its place and ancient-prose movement entered a new stage. Editions and References Shih Shou-tao Hsien-sheng chi In Cheng-i T’ang ch’tian-shu Pai-pu edition. Ts’u-lai Shih Hsien-sheng wen-chi jCM- Ch’en Chih-o W.WM, ed. Peking: Chung-hua, 1984. Studies Bol, This Culture of Ours, pp. 181-83.
Chin, Chung-shu “Sung-tai ku-wen yiin-tung chih fa-chan yen-chiu” Hsin-ya hsiieh-pao 5.2 (1963): 97-102. Chu, Shang-shu Iftjni#!. Pei Sung ku-wen yiintung fa-chan-shih Chengtu: Pa-Shu Shu-she, 1995, pp. 12951. Egan, Ronald C. The Literary Works cf Ou-yang Hsiu (1007-72). Cambridge: Cambridge University Press, 1984, pp. 17-21. P’an, Fu-en JUS® and Hsii Yii-ch’ing ®.”Lun Shih Chieh” W & fr, Wen shih che 1989.1: 84-91. Tung, Chin-yii “Sung ju chung te k’uang-che: Shih Chieh” E/t", in Sungjufeng-fan Taipei: Tung-ta, 1979, pp. 10-13. Weiguo Cao University of Wisconsin
Sun C h’o (tzu, Hsing-kung M ca. 314-ca. 371) was the grandson of Sun C h’u MiM (ca. 218-293), a wellknown author of hsiian-yen shih (“mysterious-word” poetry, i.e., a type of verse written on philosophical topics) in the Western Chin, and Sun Tsuan M H , who apparently held no official posts. Although originally from Chung-tu 4 1 IP (modem P’ing-yao Shansi), Sun Tsuan moved the family to K’uai-chi H" H (modem Chekiang) around 309. His father having died early, Sun was bought up by his uncle in a family no longer prosperous. After a decade of reclusive life in K’uai-chi during which he wrote the “Sui-ch’u fu” (Rhapsody on Fulfilling My Original Resolve), which testified to his satisfac tion with the eremitic life, he was finally led to seek patronage among the elite to support himself and his family. H e first joined the staff of Yii Liang (289-340) as military adjutant. Later, he was assigned to different posts in the provinces and at court. He served under powerful m en such as Yin Hao (305-356), W ang Hsi-chih (321-
379), and even Huan W en flffi (312— 373), the famous generalissimo and king maker of the Eastern Chin, as attendant or aide, before reaching his highest position, Ting-wei ch’ing (Chief Minister for Law Enforcement); he was also ennobled as Marquis of Ch’ang-lo and both tides, that of the high office and his noble rank, were commonly used to designate Sun and his subsequent collections of writings. Although Sun achieved considerable literary renown, the information about his life is sparse and anecdotal. The Shihshuo-hsin-yti t& l& lff(N e w Account of Tales of the World)* depicts him as quick-witted and capable of clever repartee, but sometimes coarse in speech and vulgar in conduct. Possibly because by nature he spumed official life, he was prone to sarcasm in dealing with officials, openly satirizing influential men like Hsi Tso-ch’ih H H ® (d. 384). He even risked his life to present a memorial opposing H uan W en’s proposal to move the capital back to Lo-yang. O f his oeuvre of thirty-seven poems and thirty-six pieces of prose, Sun is best known for his hsiian-yenvevse (following his grandfather). This type of poetry flourished in the mid-fourth century; it usually expounded Taoist philosophical texts and ideas in diction common to these texts and four-syllable lines. Although Sun’s success made him one of the major literary figures of his time, for m any later readers these poems seem ed arcane, even apoetic. Thus C hung Ju n g ’s (ca. 465-518) classification of Sun as a “third-rank p o e t” in the Shih-p’in Ifpn (An Evaluation of Poetry)* represents not only Sun Cho’s literary reputation, but Chung’s assessment of this kind of verse in general. Sun’s prose includes a series of tsan ft (encomiums) on men of wisdom, such as Lao-tzu, Yiian Hsien I15K, and several em inent Buddhist monks. Given his contemporary repute, he undoubtedly
had little choice but to author several epitaphs and grave inscriptions for distinguished figures such as W ang Tao ~3EM (276-339), Hsi Chien ff iS , and Yii Liang, his first patron. In his Wen-hsin tiao-lung ; £ > i> l8 f il* Liu Hsieh and Liu Chih-chung fPJifccK K ’un-chttfa-chan-shih Peking: Chungkuo Hsi-chii, 1989. Hu, Miao-sheng Ch’ung-man ju-hao te hsi-ehu k ’ung-chien: Wu-t’ai she-chi lun-wen ^£$5 n ffittm m & m • n & m m m . Peking: Chih-shih, 1985. 18 studies of Western and Chinese stages and their role in drama (with plates). Hu, Shih-houSUtftW and TengShao-chi comps. Chung-kuo ku-tai hsi-ch’H-chiap’ingchuan ^Ssl Chengchow: Chung-chou Ku-chi, 1992. Huang, Pen H # . Yiian-tai hsi-ch’ii shih-kao Tientsin: T’ien-chin Ku-chi, 1995. Huo, Sung-lin and Shen Shih-yao comps. Chung-kuo ku-tai hsi-ch’ii ming-chu chien-shang tz’u-tien H ft Peking: Chung-kuo Kuang-po Tienshih, 1992. I, Sheng © £ ed. Yii-chii ch’uan-t’ung chii-mu hui-shih @MM- Chengchow: Huangho Wen-i, 1986. Idema, Wilt L. “The Pilgrimage to Taishan in the Dramatic Literature of the Thirteenth and Fourteenth Centuries,” CLEAR 19 (1997): 23-58. Johnson, David, ed. Ritual and Scripture in Chinese Popular Religion, Five Studies. Berkeley: Chinese Popular Culture Project, 1995. Publications of the Chinese Popular Culture Project, 3. __ . Ritual Opera, Operatic Ritual- ‘MuUen Rescues his Mother’in Chinese Popular Culture. Berkeley: IEAS, 1989. Jung, Shih-ch’eng Hsi-ch’ii jen-lei-hsUeh ch’u-t’an Taipei: Mai-t’ien, 1997. _ Kanamaru, Kunizo Chugoku koten gikyoku jisho sogo sakuin #51. Tokyo: Tdkyo Gaikokugo Daigaku Gogaku Kyoiku Kenkyu Shingikai, 1984. Kao, Yii Ku-tien hsi-ch’ii tao-yen-hsiieh lun-chi ^^Jt)sfti|$ l4 £ filli. Peking: Chung-kuo Hsi-chii, 1985. Seven articles, based on traditional accounts, of direction, acting, singing and stagecraft in traditional plays. Kersting, Theo. “Der Barbar auf der Biihne, eine Untersuchung zum Bild des Fremden im friihen chinesischen Theater (Yiian- und Ming-Zeit).” Ph. D. dissertation, Gottingen University, 1986. Ku, Ling-kuang'fi’^ ^ . Chou Te-ch’ingchich’ich’U-hsttehyen-chiu Taipei: Wen-shih-che, 1992. Kuo, Ching-jui et al, comps. Ch’e-wang-Ju ch’ii-pen t ’i-yao Canton: Chung-shan Ta-hsiieh, 1989. Kuo, Ying-te Ming Ch’ing wen-jen ch’uan-ch’i yen-chiu Peking: Pei-ching Shih-fan Ta-hsiieh, 1992. Li, Ch’u n -h sia n g ^ # # . Yiian tsa-chii lun-kao 7C$l)i!lttffiS5. Kaifeng: Ho-nan Ta-hslieh, 1988. __ . Yiian tsa-chii shih-kao :7r$lJi5l5fe$5. Kaifeng: Ho-nan Ta-hsiieh, 1989. Li, Han-fei ed. Chung-kuo hsi-ch’u chii-chung shou-ts’e Peking: Chung-kuo Hsi-chii, 1987. Li, Hsiao-ping et al, comps. Chung-kuo hsi-chii ch’i-yiian Shanghai: Chih-shih, 1990. Li, Hsiu-sheng Yiian tsa-chii shih 7n$§St!l$I. Nanking: Chiang-su Ku-chi, 1996. __ , ed. Yiian-ch’ii ta-tz’u-tien T n f t^ il^ . Nanking: Chiang-su Chiao-yii, 1995. Liang, Shu-an and Yao K’o-fu Chung-kuo chin-tai ch’uan-ch’i tsa-chii ching-yen-lu Peking: Shu-mu Wen-hsien, 1996. Liao, Pen 0 3 $ . Chung-kuo hsi-ch’ii sheng-ch’iang yiian-liu shih Taipei: Kuan-ya Wen-hua, 1992. __ , comp. Chung-kuo hsi-ch’ii t ’u-shih Chengchow: Ho-nan Chiao-yii, 1997.
An exhaustive collection of the archaeological and visual materials concerning traditional Chinese drama from its earliest beginnings up to the end of the Ch’ing dynasty. __ • Sung Ytian hsi-ch’ii wen-wu yii min-su Peking: Wen-hua I-shu, 1989. Leung, Pui-chee. Wooden-Fish Books. Critical Essays and an Annotated Catalogue Based on the Collections in the University of Hong Kong Hong Kong: University of Hong Kong Center of Asian Studies, 1978. The text is mosdy in Chinese. Lin, Feng-hsiung Pf-feM- Chung-kuo hsi-chii shih lun-kao Taipei: Kuo-chia, 1995. Lin, Ho-i Wan-Ming hsi-ch’U-chung chi shmg-ch’iang yen-chiu Taipei: Hsiieh-hai, 1994. Liu, Ching-chih 8|Sf Yiian-jen Shui-hu tsa-chu yen-chiu Hong Kong: San-lien, 1990. Li, Hsiu-sheng and Li Chen-yii Ku-tai hsiao-shuo yii hsi-ch 'ti ' S ' / J J ^ l t E f t . Shenyang: Liao-ning Chiao-yii, 1992. Liu, Lieh-mao 39^1/$;, et aln eds. Ch’e-wang-fu ch’tt-pen ching-hua M 3EMf H. 6v. Canton: Chung-shan Ta-hsiieh, 1993. An extensive selection of plays from the voluminous manuscript holdings of prosimetric and dramatic literature of the 18th and the 19th centuries originally kept at the princely mansion of the Mongol Princes of Ch’e in Peking; the complete collection has also been reproduced in facsimile. Liu, Jilin. Chinese Shadow Puppet Plays. Peking: Morning Glory Publishers, 1988. Liu, Nien-tzu §f!l;§;3£. Hsi-ch’ii wen-wu ts’ung-k’ao Peking: Chung-kuo Hsi-chii, 1986. __ . Nan hsi hsin-cheng l%itl(ffit. Peking: Chung-hua, 1986. Liu, Wu-chi. “Some Additions to Our Knowledge of the Sung-Yuan Drama-A Bibliographic Study,” Wen-lin, v. 2, pp. 175-203. Liu, Yen-chiin and Liao Pen 0 ^ . Chung-kuo hsi-chii te ch’an-t’ui^M$&M\$iM%&Peking: Wen-hua I-shu, 1989. Lopez, Manual D. Chinese Drama: An Annotated Bibliography o f Commentary, Criticism and Plays in English Translation. Metuchen, NJ.: The Scarecrow Press, 1991. Lu, o -t’mg m m m . Ch’ing-tai hsi-ch’ii chia ts’ung-k’ao t S f ^ ^ f t P e k i n g : Hsiieh-lin, 1995. Lu, Tan-an ed. Hsi-ch’ii tz’u-yii hui-shih jUcftflfglii#. Shanghai: Shang-hai Ku-chi, 1981. Entries are drawn primarily from Yiian-pen and Tsa-chu with some from Chu-kung-tiao; no material from later drama is included. Lti, T’ien-ch’eng (ca. 1575-ca. 1619). Wu Shu-yin coll. and annot. Ch’U-p’in chiao-chu Peking: Chung-hua, 1990. Lu, Ying-k’un M i l . Chung-kuo hsi-ek’i lyii she-kuicku-se Changchun: Chi-lin Chiao-yii, 1992. Luk, Yun-tong, ed. Studies in Chinese-Western Comparative Drama. Hong Kong: The Chinese University Press, 1990. Mair, Victor H. T ’ang Transformation Texts-A Study of the Buddhist Contribution to the Rise of Vernacular Fiction and Drama in China. Cambridge, Mass.: Harvard University Press, 1989. Mackerras, Colin. Chinese Drama-A Historical Survey. Peking: New World Press, 1990. __ . Chinese Theater, from Its Origin to the Present Day. Honolulu: University of Hawaii Press, 1983. Meng, Fan-shu Chung-kuo pan-shih pien-hua-t’i hsi-ch’Uyen-chiu Taipei: Wen-chin, 1991.
Ni, Chung-chih Chung-kuo ch’ii-i shih Shenyang: Ch’un-feng Wen-i, 1991. Ning, Tsung-i^*?—, etal. Yiian tsa-chu yen-chiu kai-shu Tientsin: T’ien-chin Chiao-yii, 1987. P’eng Fei HZffl.. Chung-kuo te hsi-chii Peking: Chung-kuo Ch’ing-nien, 1986. Pimpaneau, Jacques. Promenade aujardin des Poiriers-L ’opera chinois classique. Paris: Musee Kwok On, 1983. P’u, Chien HU, ed. Yilan-ch’il pai-k’o ta-tz’u-tien Peking: Hsueh-yiian, 1991. Riley, Jo. Chinese Theatre and the Actor in Performance. Cambridge: Cambridge University Press, 1997. Cambridge Studies in Modem Theatre. Rudelsberger, Hans. Altchinesiche Liebeskomtidien. Zurich: Manesse-Verlag, 1988. Schaab-Hanke, Dorothee. “Die Entwicklung des hofischen Theaters in China zwischen dem 7. und 10. Jahrhundert.” Unpublished Ph. D. dissertation, University of Hamburg, 1993. Shang, T’ao Lun Yiian-tai tsa-chii Tsinan: Ch’i-Lu Shu-she, 1986. Shou-chieh Yiian-ch’u kuo-chi yen-t’ao-hui lun-wen chi 2v. Shihchia-chuang: Ho-pei Chiao-yii, 1994. Silber, Cathy. “From Daughter to Daughter-in-Law in the Women’s Script of Southern Hunan.” In Christina Gilmarten, et al., eds. Engendering China: Women, Culture and the State. Cambridge, Mass.: Harvard University Press, 1994, pp. 47-68. Ssu-nan no-t’ang-hsi JSlliflt;!!'®! Kweiyang: Kuei-chou Min-tsu, 1993. Sun, Ch’ung-t’ao and Hsii Hung-t’u Hsi-ch’U y u - l i n g Peking: Wen-hua I-shu, 1995. Sun, K’ai-ti m m . Hsi-ch’ii hsiao-shuo shu-lu chieh-t’i Peking: Jen-min Wen-hsiieh, 1990. Sung Chin Yiian hsi-ch’ii wen-wu t’u-lun T’aiyiian: Shan-hsi Jen-min, 1987. Tanaka Kenji Hakushi Shoju kinen ronshu kanko kai EB^H:_ Chugoku kotengikyoku ronshu Tokyo: Kyuko, 1991. T’an, Fan |$ f l and Lu Wei Chung-kuo ku-tien hsi-chii li-lun shih Peking: Chung-kuo She-hui, 1993. T’ang, Shih J|f $|. Min-tsu hsi-ch'ii san-lun E&ffctm• Shanghai: Shang-hai Ku-chi, 1987. Te-chiang no-t’ang-hsi Kweiyang: Kuei-chou Min-tsu, 1993. Teng, Ch’ang-feng Ming Ch’ing hsi-ch’ii-chia k ’ao-liieh Shanghai: Shang-hai Ku-chi, 1994. Teng, Chiao-pin Wu Mei yen-chiu Shanghai: Hua-tung Shih-fan Ta-hsiieh, 1990. Ts’ai, Chung-hsiang Chung-kuo ku-tien chu-lun kai-yao iS IS iSfJftil!!frazil- Peking: Chung-kuoJen-min Ta-hsiieh, 1988. Ts’ai, I MWl, ed. Chung-kuo ku-tien hsi-ch’ii hsii-pa hui-pien 4v. Tsinan: Ch’i-Lu Shu-she, 1989. __ . Ming Ch’ing hsi-ch’ii-chia k ’ao-liieh hsii-pien &M- Shanghai: Shang-hai Ku-chi, 1997. Ts’ai, Meng-chen Chin-tai ch’ii-hsiieh erh-chiayen-chiu (Wu Mei, Wang Chi-lieh) . Taipei: Hsiieh-sheng, 1992. Tseng, Pai-jung II SHI, comp. Ching-chii chii-mu tz’u-tien 3Rll!l)tlJ£3S$J&. Peking: Chung-kuo Hsi-chii, 1989. Tseng, Yung-i Chung-kuo ku-tien hsi-chii te jen-shihytt hsin-shang Taipei: Cheng-chung, 1991. Appends a 102-page annotated bibliography of
over 100 ancient and modem works related to traditional Chinese drama. __ . Lun-shuo hsi-ch’Uitaftltlcffi. Taipei: lien-ching, 1997. __ • Ts’an-chtin-hsiyti Yuan tsa-chii Taipei: Lien-ching, 1992. Wang, An-ch’i 5E3c#f. Ming-tai ch’uan-ch’i chih chU-ch’ang chi ch’i i-shu Taipei: Hsiieh-sheng, 1986. __ . Ming-tai hsi-ch’ii wu-lun fflSH- Taipei: Ta-an, 1990. Wang, Chih-wu ed. Ku-tai hsi-ch’ii shang-hsi tz’u-tien (Yiian-ch’ii chiian) j(f#r . Sian: Shan-hsiJen-min, 1988. Literary close readings of 117 dramas by 51 Yiian authors, 5 from later periods, and 45 anonymous Yiian plays. Wang, Chih-yung Tan su shuo hsi Taipei: Wen-shih-che, 1991. Wang, Ch’iu-kuei ed. Min-su ch’ii-i ts’ung-shu Taipei: Shih Ho Cheng Min-su Wen-hua Chi-chin Hui, 1993-. A multi-volume series devoted to the documentation of the various forms of ritual drama in Mainland China; 60 volumes have been published so far. Wang, Hsiao-chia Shui-hu-hsi k ’ao-lunftfflfflt^W i. Tsinan: Chi-nan, 1989. Wang Li-ch’i jEflJSSf. Yiian Ming Ch’ingsan-tai chin-hui hsiao-shuo hsi-ch’ii shih-liao Rev. ed. Shanghai: Shang-hai Ku-chi, 1989. Wang, Wei-min 3EJtr.S. Wu M eip’ing-chuan ■&. Peking: She-hui K’o-hsiieh Wen-hsien, 1995. Wang, Yung-k’uan 3:^< J |. Chung-kuo hsi-ch’ii shih pien-nien (Yiian-ming chiian) ( tcB J#) . Chengchow: Chung-chou Ku-chi, 1996. __ . Ch’ing-tai tsa-chii hsiian Chengchow: Chung-chou Ku-chi, 1991. Wei, Fei and Wu Yii-hua comps. Ku-tien hsi-ch’ii mei-hsiieh tzu-liao chi Peking: Wen-hua I-shu, 1992. Wei, Jen M X and Wei Ming-hua Yang-chou ch’ii-i shih-hua $kj\\ ftHjiLnS. Peking: Chung-kuo Ch’ii-i, 1985. __ and Wei Ming-hua # ^ $ 1 , comps. Yang-chou ch’ing-ch’U Shanghai: Shang-hai Wen-i, 1985. Woodbury, LaelJ. “Chinese Theatre before the Emergence of Beijing Opera.” Ph.D. Brigham Young University, 1994. Wu, Hua comp. Chung-kuo ku-tai hsi-ch’U hsii-pa chi Peking: Chung-kuo Hsi-chii, 1990. Wu, Hsin-lei Chung-kuo hsi-ch’Ushih-lun tfcHJiJKtfi jfetii. Nanking: Chiang-su Chiao-yii, 1996. Wu, T’ung-pin ^||I]38l and Chou Ya-hsiin 55H&, comps. Ching-chti chih-shih tz’u-tien SpwfJft. Tientsin: T’ien-chinJen-min, 1990. Yang, Chen-liang Wang Chi-te lun-ch’ii chen-i Taipei: Li-jen, 1994. Yang, Shih-hsiang Chung-kuo hsi-ch’ii chien-shih Peking: Wen-hua I-shu, 1989. Yeh, Ch’ang-hai Chung-kuo hsi-chii-hsiieh shih-kao Shanghai: Shang hai Wen-i, 1986; Rpt. Panchiao, Taiwan: Lo-t’o Ch’u-pan-she, 1987. __ . Ch’ii-lUyU ch’ii-hsiieh Taipei: Hsiieh-hai, 1993. Yeh, Hung-hung 3S&E&E. Hua-chuang chi-pen chih-chih Hangchow: Che-chiang Wen-i, 1983. A study of traditional and modem dramatic makeup. Yen, Shao-k’uei M'PHit. Ching-chti lien-p’u jRjftlli&lf. Nanking: Chiang-su Jen-min, 1987. Yen, T’ien-yu Yiian tsa-chii pa lun Taipei: Wen-shih-che, 1996. Yii, Ch’iu-yii Chung-kuo hsi-chii wen-hua shih-shu Changsha: Hu-nan Jen-min, 1985. Yii, Man-ling comp. Chung-kuo ku-tien hsi-ch’ii hsiao-shuo yen-chiu so-yin cf® 2v. Canton: Kuang-tung Chiao-yii, 1992.
Yu, Qiuyu. “Some Observations on the Aesthetics of Primitive Chinese Theatre.” Hu Dongsheng, Elizabeth Wichmann and Gregg Richardson, trans. Asian TheatreJournal 6.1 (1989):12-30. Yii, Wei-min Sung Yiian nan-hsi k ’ao-lun Taipei: T’ai-wan Shang-wu, 1994. Yiian, Shih-shih Ht&fiM- Yiian-ch’upai-k’o tz’u-tien 7t : f t T s i n a n : Shan-tung Chiao-yii, 1989. Yung, Bell. Cantonese Opera-Peiformance as Creative Process. Cambridge: Cambridge University Press, 1989.
Fiction An, P’ing-ch’iu
and Chang P’ei-heng # ^ 1 § , comp. Chung-kuo chin-shu ta-kuan 'f lu Shanghai: Shang-hai Wen-hua, 1990. Aying Hsiao-shuo hsien-t’an ssu-chung Shanghai: Shang-hai Ku-chi, 1985. Bauer, Wolfgang, trans. Die Laiche im Strom-Die seltsame Kriminalfalle des Meisters Bao. Freiburg: Herder, 1992. Berry, Margaret. The Chinese Classical Novels. An Annotated Bibliography of Chiefly English-language Studies. New York: Garland, 1988. Breuer, Rudiger. Vorbilderflir die Welt: zjioei Novellen aus der Sammlung Xing shi yan (um 1632). Dortmund: projekt, 1997. Campany, Rob. “Cosmogony and Self-cultivation: The Demonic and the Ethical in Two Chinese Novels,’Journal ofReligious Ethics 14( 1986): 81-112. Chang, Chi-kao ed. Ming-Ch’ing hsiao-shuo tz’u-tien Shih-chia-chuang: Hua-shan Wen-i TElllX®, 1992. Over 1000 pages of this 1300-page book are devoted to glosses for words encountered in Ming-Ch’ing fiction; the remaining pages have entries on fictional works. Chang, Chin-ch’ih SSIStfe. Chung-kuo ssu-ta ku-tien hsiao-shuo lun-kao Peking: Hua-i, 1993. Chang, Chiin Ch’ing-tai hsiao-shuo shih Hangchow: Che-chiang Ku-chi, 1997. Chang, Ping Hua-pen hsiao-shuo shih-hua jiltS. Shenyang: Liao-ning Chiao-yii, 1992. Chang, Shelley Hsueh-lun. History and Legend-Ideas and Images in the Ming Historical Novels. Ann Arbor: University of Michigan Press, 1990. Chao, Hsing-ch’in 3-HJISft. Ku-tai hsiao-shuo yii lun-li Shenyang: Liao-ning Chiao-yii, 1992. Chen,Jianing, ed. The Core of Chinese Classical Fiction. Peking: New World Press, 1990. Ch’en, Ch’ien-yii Chung-kuo ku-tien hsiao-shuo li-lun p ’i-p’ing shih Ei. Peking: Pei-ching Ch’u-pan-she, 1987. Chiang Fan M U and Ku I-sheng JSj|§£, ed. Hsien Ch’in Liang Han wen-hsiieh p ’i-p’ing shih Shanghai: Shang-hai Ku-chi, 1990. Chien, Chin-sung Ming-tai wen-hsiieh p ’i-p’ing yen-chiu: Ch’eng-hua, Chia-ching chung ch’i p ’ien (1465-1544) (1465-1544). Taipei: T’ai-wan Hsiieh-sheng, 1989. Ch’ien Chung-shu H i t It. Kuan chui pien 4v. Peking: Chung-hua, 1979. Chiu, Kuei-fen. “Writing and Rewriting in the Chinese Long Vernacular Hsiao-shuo,” TkR 21(1990): 49-61. Chou, Hsiin-ch’u jlSSIU. Chung-kuo wen-hsiieh p ’i-p’ing hsiao-shih Shenyang: Liao-ning Ku-chi, 1996. An interesting history by a major scholar. Chu, Yiu Wei. “Reading Traditional Chinese Poetics from the West: Three Exemplary Positions,” THHP, N S23.3 (1993): 287-339. Chung-kuo ku-tai wen-i li-lun tziu-liao mu-lu hui-pien Chinese Department, Shantung University. Tsinan: Ch’i Lu, 1983. Chung-kuo li-tai shih-hua hsiian Study Committee on the Theory of the Arts
of the Chinese Social Science Research Council. 2v. Changsha: Yiieh -lu, 1985. Through the Yiian dynasty. Chung-kuo wen-hsiiehp’i-p’ing shih Chinese Department, Fu-tan University. 3v. Shanghai: Shang-hai Ku-chi, 1964,1981,1985. Chung-kuo wen-hsiieh p ’i-p’ing tzv-liao hui-pien llv. Taipei: Ch’engwen, 1978-9. A major source for critical materials drawn from prefaces, letters, colophons as well as formal literary critical works; materials are arranged in volumes devoted to particular periods. Deeney, John J., ea. A Prolegomena to an Encyclopedic Dictionary o f Classical Chinese Literary Terms in English, TkR 24.3-4 (1994). Dolezelov&Velingerova, Milena, ed. Poetics, East and West. Toronto: Toronto Semiotic Circle, University of Toronto, 1989. __ . “Traditional Chinese Theories of Drama and the Novel,” AO 59 (1992): 83-91. Durand, Pierre-Henri. Lettres et pouvoirs-Un prods litteraire dans la Chine imperiale. Paris: £cole des Hautes £tudes en Sciences Sociales, 1992. Eggert, Marion. Nur wir Dichter; Yuan Mei: Eine Dichtungstheorie des 18. Jahrhunderts zyvischen Selbstbehauptung und Konvention. Bochum: Brockmeyer, 1989. Eoyang, Eugene. The Transparent Eye: Reflections on Translation, Chinese Literature, and Comparative Poetics. Honololu: University of Hawaii Press, 1993. Fan, Te-san Chung-kuo ku-tai wen-hsiieh y U a n - l i Peking: Kuang-ming Jih-pao, 1991. . Gottheiner, Klaus. Licht und Dunkel in der Dichtung der T'ang-Zeit; Eine Untersuchung zur Bildlichkeit chinesischer Lyrik Frankfurt: Hagg & Herchen, 1990. Heidelberger Schriften zur Ostasienkunde, 13. Hanan, Patrick. Hu Invention o fL i Yu. Cambridge: Harvard University Press, 1988. Hsia, Ch’uan-ts’ai Chung-kuo ku-tai wen-hsiieh li-lun ming-p’ien chin-i Tientsin: Nan-k’ai Ta-hsiieh, 1985. Hsiao, Hua-jung Chung-kuo shih-hsiieh ssu-hsiang shih Shanghai: Hua-tung Shih-fan Ta-hsiieh, 1996. Hsu, Hsiao-ching. “Talks on Poetry’ (Shih hua) as a form of Sung Literary Criticism.” Unpublished Ph. D. dissertation, University of Wisconsin, 1991. Hsii Chung-yu and Wang Yiin-hsi rEJSPS et al, eds. Ku-tai wen-hsiieh li-lun yen-chiu Shanghai: Shang-hai Ku-chi, 1997. Hsu, Pi-ching. “Celebrating the Emotional Self: Feng Meng-lung and Late Ming Ethics and Aesthetics.” Unpublished Ph. D. dissertation, University of Minnesota, 1994. Huang, Lin f f and Han T’ung-wenH|I]X» e
Chang K’o-chiu
(1270-1348)
Studies Lii, Wei-fen 1985.2.
“Chiang K’o-chiu san-ch’ii chien-lun”
Chang Ping-lin
(1868-1936 or 1869-1936)
Wen-hsiiehp’ing-lun
Editions and Rtferences Chang Tai-yen ch’Uan-chi'S^k.^.^M - Shanghai: Shang-hai Jen-min, 1984-86. Hu, Wei-hsi ed. Ch’iu shu WiM- Shenyang: Liao-ningJ en-min, 1994. T’ang, Kuo-li MMM, ed. Chang Tai-yen Hsien-sheng chia-shu Shang-hai Ku-chi, 1985. Studies Chang, Nien-ch’ih
Shanghai:
ed. Chang Tai-yen sheng-p’ingyii ssu-hsiangyen-chiu wen-hsiian Hangchow: Che-chiangjen-min, 1986. ___ . Chang Tai-yen sheng-p’ing yii hsiieh-shu Peking: San-lien, 1988.
Chiang, I-hua S liill. Chang T’ai-yen p ’ing-chuan Peking?: Pai-hua-chou IPft-ftN Wen-i, 1995. Hsieh, Ying-ning Chang T’ai-yen nien-p’u shih-i Peking: Chung-kuo She-hui K’o-hsiieh, 1987. Hsii, Li-t’ing W & 9'. Chang T’ai-yen 3|£A|£. Harbin: Ha-erh-pin Ch’u-pan-she, 1996. Kaluznaa, N. M. “Czan Binlin’ koncepcia samoubijsstva,” Obsestvo igosudarstvo v Kitae 1995: 228-35. Weber, Jurgen. “Chang Ping-lin und der Su-pao Vorfall,” Nachrichten der GeseUschaft fiir Natur- und Volkerkunde Ostasiens 135 (1986): 5-19. Chang Ta-fa
(1554-1630)
Editions and References Chang, Ta-fu IBIAtS. Mei-hua-ts’ao T’ang chi Taipei: Hsin-hsing, 1988. Pi-chi hsiao-shuo ta-kuan, 29pien. __. Mei-hua-ts’ao T’angpi-t’an Changsha: Yiieh-lu Shu-she, 1991. __ . Mei-hua-ts’ao Tang p i-t’an. 3v. Shanghai: Shang-hai Ku-chi, 1986. __ . Wu-chiinjen-wu chih Taipei: Ming-wen, 1991. __ . Wu-chiin Chang Ta-fu Hsien-sheng Ming-jen lieh-chuan kao Fang Wei-i 3frtf£— (Ch’ing dynasty), ed. Taipei: Hsiieh-sheng, 1987. Chou, Kung-p’ing jfj ed. TsuiP’u-t’i Peking: Chung-hua, 1996.
Chang Tai
(1599-1684? or 1597-1685?)
Editions and References Chang, Tai WlM- Shih-kuei shu hou-chi lieh-chuan + K lS :l£^l?!jf§. 56 chiian Taipei: Ming-wen, 1991. Ming-tai chuan-chi ts’ung-k’an, 104. __ . Hsi-hu meng-hsun jSSII?#. Sun Chia-sui MMM., ed. Hangchow: Che-chiang Wen-i, 1984. __ . Hsi-hu meng-hstin. Ma Hsing-jung ed. Shanghai: Shang-hai Ku-chi, 1982. __ . T’ao-an meng-i P68$£§£13|. Ma Hsing-jung HH3£, ed. and comm. Shanghai: Shang-hai Ku-chi, 1982. Ming Ch’ingpi-chi ts’ung-shu. Printed together with the above in 1 vol. Hsia, Hsien-ch’un ed. Chang Tai shih-wen chi Shanghai: Shang-hai Ku-chi, 1991. Translations Teboul-Wang, Brigitte. Souvenirs rives de Tao’an. Gallimard: 1995. An annotated translation of Tao-an meng-i PffJiiPtit.. Studies Kafalas, Philip Alexander. “Nostalgia and the Reading of the Late Ming Essay: Zhang Dai’s ‘Tao’an mengyi.’” Unpublished Ph.D. dissertation, Stanford University, 1995. Strassberg, Inscribed Landscapes, pp. 335-352.
Chang Tsai Studies Kung, Chieh
ifi 289) Chang Tsai p ’ing-chuan
Nanking: Nan-ching Ta-hsiieh, 1997.
MiyazakiJunko K . “Cho Sai no “kyoshin” ni tsuite” gakushi 5 (1990): 53-76. Chang Wen-t’ao
j ft: o V' T , Chugoku
(1764-1814)
Editions and Rtferences Chang, Wen-t’ao Ch’uan-shan shih-ts’ao 2v. Peking: Chung-hua, 1986. Chung-kuo ku-tien wen-hsiieh chi-pen ts’ung-shu. Based on a printed edition of 1541; appends a list of materials for the study of Chang Wen-t’ao. Chou, Yvi-cheng ed. Ch’uan-shan shih-hsiian iiliiitM - Peking: Shu-mu Wen-hsien, 1986.
Chang Yiieh 3g|fc (667-731) Editions and Rtferences Luan, Kuei-ming et al., eds. Ch’iian T’ang shih so-yin: Ch’en Tzu-ang Chang Yiieh chiian '• W.T’B ’ 3SK&#. Ch’in-huang-tao: Hsien-tai, 1994. Studies Chang, Pu-yiin “Lun Ts’ung Ch’u-T’ang tao Sheng T’ang te Kuo-tu Shih-jen Chang Yiieh” Shanghai Shih-fan Ta-hsiieh hsiieh-pao 41 (1989): 15-19. Chen, Zu-yan [Ch’en Tsu-yen] • “Chang Yiieh: First Poet of the High T’ang,.” TS 12 (1994): 1-10. __ . Chang Yiieh Nieh-p’u Hong Kong: Chung-wen Ta-hsiieh, 1984. __ . “Impregnable Phalanx and Splendid Chamber: Chang Yiieh’s Contributions to the Poetry of the High T’ang.” Unpublished Ph.D. dissertation, University of Wisconsin, 1989. __ . “Impregnable Phalanx and Splendid Chamber: Chang Yiieh and the Aesthetics of High T’ang Poetry.” CLEAR 17 (1995): 69-88. Li, Chien-kuo “Chang Yiieh te ch’uan-ch’i k’ao-lun” Liao-ning Chiao-yii Hsiieh-yiian hsiieh-pao 1985.4 (1985): 38-44. Tsou, Chin-hsien and Chang An-tsu “Chang Yiieh tui T’ang-shih Fa-chan te Kung-hsien” Ch’iu Shih 1991.3 (1991): 57-61.
Ch’ang Chien # j l {fl. 749) Studies Chang, Hsiieh-chung
“Ch’ang Chien wan-nien yin yii Ch’in-chung pien” Wen-hsiieh i-ch’an, 1989.5.
Chao I MSI (1727-1814) Editions and Rtferences Chao, I Hill- Ou-pei chi IKdb^. 2v. Shang-hai: Shang-hai Ku-chi, 1997. __ . Ou-pei shih-hua f f i F u Shou-sun * * s k , ed. Shang-hai: Shang-hai Ku-chi, 1983. Ch’ing shih-hua hsU-pien, 1.
__ . Ou-pei shih-hua. Huo Sung-lin S I S # and Hu Chiu-yu eds. Shang-hai: Shang-hai Ku-chi, 1983. Chung-kuo ku-tien wen-hsiieh li-lun p ’i-p’ing chuan-chu hstian-chi __ . P’ing-ting T’ai-wan shu-liieh Chengtu: Pa-Shu Shu-she, 1993. Chung-kuo yeh-shih chi-ch’eng 40. Reprinted from the Hsiao-fang-hu Chai mss. ed. __ . Sui-yii ts’ung-k’ao Luan Pao-ch’iin and Lii Tsung-li g f ? # , eds. Shihchia-chuang: Ho-pei Jen-min, 1990. Hu, I-hsiao ed. Chao I shih-hsiian Chengchow: Chung-chou Ku-chi, 1985. Chao Ping-wen
(1159-1232)
Editions and References Chao, Ping-wen. Fu shui chi
20 chiian + 1 chiian. 8v. Taipei: Shih-chieh, 1988.
Che-hsi tz’u-p’ai S f f f i U M Editions and Reference Chu, I-tsun (1629-1709), ed. Tz’u tsung
Ch’en Liang
Chengchow: Chung-chou Ku-chi, 1990.
(1143-1194)
Editions and References Ch’en, Liang Ch’en Liang chi tseng-tingpen Teng Kuang-ming ed. 2v. Peking: Chung-hua, 1987. Appends traditional prefaces. __ . Ch’en LiangLung-ch’uan tz’u chien-chu Ifc&flJIIfltlQi. Chiang Shu-ko #®|SI (1907-), ed. and comm. Peking: Jen-min Wen-hsiieh, 1980. Appends biographical material. __ . Lung-ch’uan tz’u chiao-chien H J11t§It£f5i. Hsia Ch’eng-t’ao (1900-1986), ed. Mou Chia-k’uan comm. Hong Kong: Chung-hua, 1977. Studies Chao, Min mm and Hu Kuo-chiin iSjpijl'J, eds. Ch’en Liang yen-chiu lun-wen chi JCM- Hangchow: Hang-chou Ta-hsiieh, 1994. Appends a bibliography.
Ch’en Lin Gftft (157-217) Editions and References Ch’en, Lin Ch’en Lin chi Yii Shao-ch’u ed. In Chien-an Ch’i-tzu chi 3H:?c Peking: Chung-hua, 1989. Chung-kuo ku-tien wen-hsiieh chi-pen ts’ung-shu. Han, Ko-p’ing Sl^r5?, ed. Chien-an ch’i tzu shih-wen chi chiao-chu hsiang-hsi Changchun: Chi-lin Wen-shih, 1991. Yii, Hsien-hao ed. Chien-an ch’i tzu shih chien-chu M:?c'b-pt#=§§9:. Chengtu: Pa-Shu Shu-she, 1990.
Ch’en Shih-tao
(1052-1102 or 1053-1101)
Editions and References Ch’iian Sungshih, 19:1114-1120.12631-12752.
Studies Cheng, Ch’ien $$H. Ch’en Hou-shan nien-p’u Taipei: lien-ching, 1984. Hou-shan shih-chu pu-chien Annotated by Jen Yiian (Sung Dynasty) and others. Peking: Chung-hua, 1995.
Ch’en To UM {fl 1506) Editions and References Yang, Ch’iian-ch’ang ed. Ch’en To san-ch’ii 1985.
Ch’en Tuan-sheng
Shanghai: Shang-hai Ku-chi,
(1751-1796)
Editions and References Ch’en Tuan-sheng Tsai-shengyiian Liu Ch’ung-i ed. 3v. Chengchow: Chung-chou Shu-hua-she, 1982. Chung-kuo ku-tien chiang-ch’ang wen-hsiieh ts’ung-shu. __ . Tsai shengyiian. Sun Chii-yuan M3§®, ed. Changsha: Hu-nan Wen-i, 1986. Studies Sung, Marina H. The Narrative Art of Tsai-sheng Yiian: A Feminist Vision in Traditional Chinese Society. Taipei: CMC, 1994.
Ch’en Tzu-ang
(661-702)
Editions and References Hsii, P’eng #1®. Ch’en Tzu-ang chi K-pifjIfe. Peking: Chung-hua, 1980. Standard modem critical edition. Luan, Kuei-m in g ^J|0 J et al., eds. Ch’iian Tang Shih so-yin: Ch’en Tzu-ang, Chang Yiieh chiian Ch’in-huang-tao: Hsien-tai, 1994. P’eng, Ch’ing-sheng &!&.£.. Ch’en Tzu-ang shih-chu Hsi-ning: Ch’ing-haiJen-min, 1980; Chengtu: Ssu-ch’uan Jen-min, 1981. Appends various biographies. Studies Chang, Pu-yiin “Shih P’ing Ch’u-T’ang Shih-jen Ch’en Tzu-ang” Jp. Shanghai Shih-fan Ta-hsUeh hsueh-pao 1988.3: 51-56. Ch’en Tzu-ang yen-chiu lun-chiW^f$ffi%1im1m- Peking: Chung-kuo Wen-lien, 1989. Chou, Hsiao-t’ien jfM A . “Wu-hou shih-tai yii Ch’en Tzu-ang te cheng-chih feng-tz’u shih” Cheng-tu Shih-chuan hsueh-pao 1986.1 (1986): 22-26. Han, Li-chou Ch’en Tzu-angp ’ing-chuan Sian: Hsi-pei Ta-hsiieh, 1987. __ . Ch’en Tzu-ang yen-chiu Shanghai: Shang-hai Ku-chi, 1988. Ho, Richard M. W. Ch’en Tzu-ang, Innovator in Tang Poetry. London and Hong Kong: School of Oriental and African Studies, University of London and the Chinese University Press 1993 Liu, Shih §85. “Ch’en Tzu-ang Hsin-lun” Wen-hsiieh P’ing-lun 1988.2 (1988): 131-37. Liu, Yiian-chih Ch’en Tzu-ang chi-ch’i “Kan-yii Shih”yen-chiu Taipei: Wen-chin, 1987.
Lo, K’ang H lf. T ’ang Ch’en Tzu-ang Hsien-sheng Po-yii nien-p’u Taipei: T’ai-wan Shang-wu Yin-shu-kuan, 1986. Mair, Victor H. Four Introspective Poets: A Concordance to Selected Poem by Roan Jyi, Chem Ttyy-amg,JangJeouling, and Lii Bor. V. 2. Centerfor Asian Studies, Monograph, Tempe: Center for Asian Studies, Arizona State University, 1987. Morino, Shigeo # W fr. “Chin Shigd ‘Kangushi’ sanjuhachi shu no sekai” !&§?■. Chugoku bungakuho 36 (1985): 15-46. Pi, Wan-ch’en W ltk . “Lun Ch’en Tzu-ang shih-ko li-lun te ch’uan-t’ung t’e-chih” Wen-hsiieh i-ch’an (1990): 42-49. Shen, Hui-yiieh and Ch’ien, Hui-k’ang Ch’u-T’ang Ssu-chieh ho Ch’en Tzu-ang Shanghai: Shang-hai Ku-chi, 1987. Ssu-ch’uan She-hung Hsien Ch’en Tzu-ang Yen-chiu Lien-lo-tsu ed. Ch’en Tzu-ang yen-chiu lun-chi Peking: Chung-kuo Wen-lien Ch’u-pan Kung-ssu, 1989. Wang, Kuo-an and Wang Yu-min 3:#J§S[, ed. Ch’u-T’ang Ssu-chieh yii Ch’en Tzu-ang shih-wen hsiian-chu. Chung-kuo Ku-tien Wen-hsiieh Tso-p’in Hsiian-tu Ts’ung-shu. Shanghai: Shang-hai Ku-chi, 1995. Wang, Yiin-hsi 3:311® and Wu Ch’eng-hsiieh “Lun Ch’en Tzu-ang te li-shih kunghsien” Hsii-ch’ang Shih-chuan hsiieh-pao 1989.3:33-38. Wu, Ming-hsien ^ f f . Ch’en Tzu-an lun-k’ao Chengtu: Pa-Shu Shu-she, 1995. Ch’en Tzu-lung
(1608-1647)
Editions and References Shih, Chih-ts’un J l ® # and Ma Tzu-hsi H |§ ^ , eds. Ch’en Tzu-lung shih-chi Shanghai: Shang-hai Ku-chi, 1983. The standard, modern critical edition of the poetry. Shang-hai Wen-hsien Ts’ung-shu Pien-wei-hui eds. Ch’en Tzu-lung wenShanghai: Hua-tung Shih-fan Ta-hsiieh, 1988. Translations Chang, The Late Ming Poet Ch’en Tzu-lung (see “Studies” below). Studies Atwell, William S. “Chen Tzu-lung: 1608-1647.” Unpublished Ph. D. dissertation, Princeton University, 1975. Chang, Kang-i Sun. The Late Ming Poet Ch’en Tzu-lung, Crises o f Love and Loyalism. New Haven-London: Yale University Press, 1990. Chu, Tung-jun Ch’en Tzu-lung chi ch’i shih-tai ft. Shanghai: Shang-hai Ku-chi, 1984. McCraw, Chinese Lyricists, pp. 10-24.
Ch’en Wei-sung m m & (1626-1682 or 1625-1682) Editions and Rtferences Chou, Shao-chiu Ji®37l, comm. Ch’en Wei-sung hsuan-chi Shanghai: Shang-hai Ku-chi, 1994. Liang, Chien-chiang ed. and comp. Ch’en Wei-sung tz’u hsiian-chu jHQ:. Shanghai: Shang-hai Ku-chi, 1990.
Studies McCraw, Chinese Lyricists, pp. 63-86.
Ch’en Yii-i MMM (1090-1139 or 1090-1138) Editions and References Ch’en, Yii-i M IN I. Ch’en YU-i chi R U S * . 2v. Wu Shu-yin and Chin Te-hou &fg J?, eds. Peking: Chung-hua, 1982. Critical edition based on the Tseng-kuang edition with excellent notes, finding list of titles, traditional prefaces, and a bibliography. __ • Ch’en Yii-i chi chien-chiaoWMWMWkfit. 2v. Pai Tun-jen HifcC, ed. and comm. Shanghai: Shang-hai Ku-chi, 1990. Appends 7 works which had been lost from the collection. Studies Hargett, James M. “Sung Biographies, Supplementary Biography No. 1 [Ch’en Yii-i],”/.STS' 23 (1993): 110-122. __ . “Tensions of Tang and Song Influence in the Poetry of Chen Yuyi (1090-1139).” In Collected Studies on Song History Dedicated to ProfessorJames T. C. Liu in Celebration of His Seventieth Birthday. Kinugawa Tsuyoshi, ed. Kyoto: Dohdsha, 1989, pp. 429-451. McCraw, David R. “The Poetry of Chen Yuyi.” Ph. D. dissertation, Stanford Univ., 1986. __ . “Chen Yuyi’s Place in Tang and Song Poetry,” CLEAR9 (1987): 1-21. Pai, Tun-jen Ch’en YU-i nien-p’u Peking: Chung-hua, 1983.
Cheng Chen
(1806-1864)
Editions and References Cheng, Chen Ch’ao-ching-ch’ao shih-ch’ao chien-chu Pai Tun-jen Sift C , ed. 2v. Chengtu: Pa-Shu Shu-she, 1996. Liberally annotated, useful biographical data.. __ . Ch’ao-ching-ch’ao shih-ch’ao teng san-chung Taipei: Shih-chieh, 1966. SPPY. __ . Cheng Chen chi, Ching-hsiieh M & M ' Wang Ying EEtfc et a l, eds. Kweiyang: Kuei-chouJen-min, 1991. Kuei-chou ku-chi chi-ts’ui __ and Liang Chang-chii Ch’eng-wei lu Ch’in-shu chi Peking: Chunghua, 1996. Studies Huang, Wan-chi ffHISi. Cheng Chen p ’ing-chuan Chengtu: Pa-Shu Shu-she, 1988. Appends a chronological biography of Cheng. Ling, T’i-an Cheng Tzji-yin (Chen) Hsien-sheng nien-p’u Hong Kong: Ch’ung-wen, 1975. __ . Cheng Tzv-yin nien-p’u Rpt. Taipei: Shang-wu Yin-shu-kuan, 1975 (1937). Wei, Chung-yu Wan Ch’ing shih yen-chiu Wen-shih-che Ta-hsi 98. Taipei: Wen-chin, 1995. Chapter six treats the verse of Cheng Chen.
Cheng Hsieh
(1693-1765)
Editions and References Ch’eng, Hsieh Cheng Pan-ch’iao chi
Shang-hai Ku-chi Ch’u-pan-she, ed.
Shanghai: Shang-hai Ku-chi, 1979. Appended biographical and other materials. __ • ChengPan-ch’iao chi hsiang-chu WangHsi-jung comm. Changchun: Chi-lin Wen-shih, 1986. __ . Cheng Pan-ch’iao wai chi Cheng, Ping-ch’un ed. Taiyuan: Shan-hsi Jen-min, 1987. __ . Pan-ch’iao chia-shu i-chu Hua, Yao-hsiang WMW and Ku, Huang-ch’u ® ft#J, eds. Peking: Jen-min Wen-hsiieh, 1994. Tiao, Chun ed. Cheng Pan-ch’iao tui-lien chi-chu Shanghai: Shang-hai Wen-hua I-shu, 1991. Ying-yin chen-chi Cheng Pan-ch’iao ch’iian-chi^i^M W M W tM ^M - Collated by Wang Tzu-ch’en 3LMM- Chengchow: Chung-chou Ku-chi, 1992. Studies Ch’en, Shu-liang Cheng Pan-ch’iao p ’ing-chuan Chengtu: Pa-Shu Shu-she, 1989. Chou, Chi-yin Cheng Pan-ch ’iao SPt&fit. Shebang: Chi-lin Mei-shu, 1996. Fukumoto, Masakazu —. Tei Hankyo shisho Kyoto: D6ho Shuppansha, 1994. Pohl, Karl-Heinz. Cheng Pan-ch’iao: Poet, Painter and Calligrapher. Nettetal: Steyler Verlag, 1990. Monumenta Serica Monograph Series, 21. Studies Huang, Chu-ch’eng
“Cheng Hsieh shih-wen chi pan-pen yiian-liu k’ao” She-hui k ’o-hsiieh chan-hsien, 1994.5: 267-274. Yang, Shih-lin $ |± # . Cheng Pan-ch’iao p ’ing-chuan Hofei: An-huei Jen-min, 1992. Cheng Jo-yung
(ca. 1480-ca. 1565)
Editions and Rtferences Cheng,Jo-yung. LeichiianM.%- Shanghai: Shang-hai Tz’u-shu, 1991.
Cheng Kuang-tsu
(ca. 1260 or earlier-ca. 1320)
Editions and Rtferences Cheng, Kuang-tsu Cheng Kuang-tsu chi% Jt$M .- Feng Chiin-chieh Shan-hsi Jen-min, 1992. Appends a bibliography.
Chi Yiin
ed. Taiyuan:
(1724-1805)
Editions and Rtferences Chi, Yiin &EH&- Chi Hsiao-lan wen-chi Sun Chih-chung WHfrtp et al., eds Shih-chia-chuang: Ho-pei Chiao-yii, 1991. Appends a chronological biography. __ . Ho-yUan chi-lueh Tientsin: T’ien-chin Ku-chi, 1987. Hsi-pei k’ai-fa shih-liao ts’ung-pien. Study of the origins of the Yellow River. __ . Wu-lu-mu Chai tsa-shih Lanchow: Lan-chou Ku-chi, 1990. Chung-kuo Hsi-pei wen-hsien ts’ung-shu. Photocopy of an 1815 woodblock edition edited by Chang Hai-peng
__ . Wu-ying Tien pen Ssu-k’u ch’uan-shu tsung-mu t’i-yao 5v. Taipei: T’ai-wan Shang-wu, 1983. Accompanied the republication of the entire Ssu-k’uhy T’ai-wan Shang-wu. __ • Ytieh-wei Ts’ao-tangpi-chi chu-i Pei Yuan jfcjW, et aL, comm. Peking: Chung-kuo Hua-ch’iao, 1994, Ku-tien pi-chi ming-chu ts’ung-shu. An extensive commentary in 1306 pages. __ • Ytieh-wei Ts’ao-tang pi-chi hstian-i Chou Hsu-* jlH tH and Chang Ming-kao trans. and comm. Peking: Jen-min Wen-hsiieh, 1991. Chung-kuo ku-tien wen-hsiieh chin-i ts’ung-shu. Translations Chou, Hsii-keng MUgg? and ChangMing-kao trans. and comm. Ytieh-wei Ts’ao-t’ang pi-chi hsiian-i • Peking: Jen-min Wen-hsiieh, 1991. Chung-kuo ku-tien wen-hsiieh chin-i ts’ung-shu. Hermann, Konrad. Pinselnotizen aus der Strohhutte der Betrachtung des Grossen im Kleinen, Kurzgeschichten und Anekdoten. Bremen: Carl Schiiremann Verlag, 1983. Huang, Kuo-sheng trans. and comm. Ytieh-wei Ts’ao-t’ang pi-chi hstian-i tEHH. Chengtu: Pa-Shu Shu-she, 1990. Ku-tien wen-shih ming-chu hsiian-i ts’ungshu. Keenan, David. Shadows in a Chinese Landscape, Chi Yun’s Notes from a Hut for Examining the Subtle. Armonk, N.Y.: M. E. Sharpe, 1997. New Studies in Asian Culture. Maeno, Naoaki M'&JM.W- Etsubi Sodo hikki Tokyo: Heibonsha, 1994. Chugoku koten bungaku taikei, 42. A selected translation (250 pp.) with maps and a critical introduction appended. Pei, Yiian itW*., et al., trans and comm. Ytieh-wei Ts’ao-t’ang pi-chi chu-i fSQifP• 5v. Peking: Chung-kuo Hua-ch’iao, 1994. Pimpaneau, Jacques. Notes de la chaumiere des observations subtiles, Recueil de courts recits ou anecdotes du Iff siecle. Paris: Kwok On, 1995. Translation of Ytieh-wei Ts’ao-t’ang pi-chi Studies Chan, Leo Tak-Hung. The Discourse on Foxes and Ghosts:J i Yun and Eighteenth-Century Literati Storytelling. Hong Kong: Chinese University Press, 1997. __ . “Narrative as Argument: The Yuewei caotang biji and the Late Eighteenth-century Elite Discourse on the Supernatural.” IffA S53 (1993): 25-62. Chang, Hui iHHL Chi Yiin yii Ytieh-wei Ts’ao-t’ang pi-chi Shenyang: Liao-ning Chiao-yii, 1993. Chou, Chi-ming Chi Yiin p ’ing-chuan ItEBSjfpfll, A Critical Biography ofjiyun. Nanking: Nan-ching Ta-hsiieh, 1994. Chung-kuo ssu-hsiang-chia p ’ing-chuan ts’ung-shu (Critical Biography Series of Chinese Thinkers), 170. Appends a name index. Dars, Jacques. “Ji Yun et son Yunwei caotang biji, Les Notes la chaumiere de la subtile perception,” Etudes chinoises 13 (1994): 361-75. Ho, Chih-ch’i S??c}jtB et al Chi Hsiao-lan nien-p ’u !E^JS!t¥tf • Peking: Shu-mu Wen-hsien, 1993. Keenan, David Laurence. “The Forms and Uses of the Ghost Story in Late Eighteenth China as Recorded in the ‘Yiieh wei ts’ao t’ang pi-chi’ of Chi Yiin.” Unpublished Ph. D. dissertation, Harvard University, 1987. Kent, Guy. The Emperor’s Four Treasuries: Scholars and the State in the Late Ch’ien-lung Era. Cambridge, Mass.: Harvard University Press, 1987. Wang, Tz’u-ch’eng “Ssu-k’u ch’tian-shu tsung-mu t’i-yao cheng-pu erh-shih wu tse” H9 + 5 J!i, Chung-kuo ku-chi yen-chiu V. I.
Yang, Chin-lung “‘Ssu-k’u hsiieh’ yen-chiu te fan-ssu” wm-cheyen-chiu chi-k’an 1994.4: 349-394.
Chung-kuo
Ch’i-chi WB (ca. 863-ca. 937) Studies Ho, Lin-t’ien “Ch’i-chi ch’u-t’an” W 3 W M , Shan-hsi Shih-ta hsiieh-pao 1992.2. Hsia, Lien M.M. “Shih-seng Ch’i-chi” Wen-shih chih-shih 1992.2. Ts’ao, Hsiin Wffl,. “Ch’i-chi sheng-tsu nien k’ao-cheng” Chung-hua wen-shih lun-ts’ung 1983.3. ChH-lu teng
(A Lamp a t the Fork)
Studies BorotovA, Lucie. A Confucian Story o f the Prodigal Son-Li Lii-yUan’s Novel *Lantern at the Crossroads,” Qiludeng; Structure, Thought and Ethics. Bochum: Brockmeyer, 1991. Chinathemen, 63.
Ch’i-wu Ch’ien m & M (692-749) Studies
Fu,Ju-i
“Ch’i-wu Ch’ien sheng-p’ing shih-chi k’ao-p’ien” kuo she-hui k ’o-hsileh 1984.4.
Chung-
Chia I K tt (200-168 B.C.) Editions and Rtferences Chia, I K it. Chia 1 chi chiao-chu Wu Yiin m M and Li Ch’un-t’ai M * , ed. and comm. Chengchow: Chung-chou Ku-chi, 1989. Chung-kuo wen-hsien ts’ung-shu. Contains both Chia I Hsin-shu and his fu and appends a chronology of Chia’s life. __ . Chia I chi chiao-chu Wang Chou-ming 3E#H^and Hsii Ch’ao #j@, ed. and comm. Peking: Jen-min Wen-hsiieh, 1996. Studies Ts’ai, T’ing-chi IjlJIlc;, ed. Chia I yen-chiu Taipei: Wen-shih-che, 1984. A study of the life and works. Wang, Chou-ming 3£iWI$J. “Chia I san-wen te t’e-tien chi tsai wen-hsiieh shih shang te ti-wei” Wen-shih-che 1982.3: 63-67. Wang, Hsing-kuo 3EHIII. Chia I p ’ing-chuan (fu Lu Chia, Ch’ao Ts’op ’ing-chuan) (Pf't .Nanking: Nan-ching Ta-hsiieh, 1993. Chung-kuo ssu-hsiang-chiap’ingchuan ts’ung-shu. Wen, Ssu M S. “Chia-shih so tsou ‘Pieh lii’ pien” Wen-shih 33 (1991): 200-228.
Chia-ku-wen tzu
(oracle-bone inscriptions)
Editions and References Chang, Yii-chin ed. Chia-ku-wen hsii-tz’u tz’u-tien Jfe. Peking: Chung-hua, 1994. Chao, Ch’eng MM, ed. Chia-ku-wen chien-ming tz’u-tien: pu-tz’u fen-lei tu-pen % Peking: Chung-hua, 1988. Fang, Shu-hsin 75“ Chia-ku chin-wen tzu-tien Chengtu: Pa-Shu Shu-she, 1993. Kobayashi, Sekiju /M M j# , ed. Kokotsu monjijiten-Takuei tendai Tokyo: Mokujisha, 1987. Liu, Hsing-lung ed. Hsin-pien chia-ku-wen tzu-tien Peking: Kuo-chi Wen-hua, 1993. Meng, Shih-k’ai ^1S0l, ed. Chia-ku-hsUeh hsiao tz’u-tien Ep-pfl^/Jslg^jgL. Shanghai: Tz’u-shu, 1987. Studies Chang, Ping-ch’uan ‘tfkMWt- Chia-ku-wen yii chia-ku-hsiieh Taipei: Kuo-li Pien-i-kuan, 1988. Ch’en, Wei-chan Chia-ku t ’ien-lieh k ’o-tz’u yen-chiu Nanning: Kuang-hsi Chiao-yii, 1995. Fang, Shu-hsin Yin-hsiipu-tz’u tuan-taiyen-chiu WlA Taipei: Wen-chin, 1992. Hu, Hou-hsiian ed. Chia-ku-wen yii Yin-Shang shih Shanghai: Shang hai Ku-chi, 1983. Chia-ku-wen yii Yin-Shang shih, ti erh chi H —ll. Shanghai: Shang-hai Ku-chi, 1986. Hsii, Hsi-t’ai Chou-yiian chia-ku-wen tsung-shu Sian: San-Ch’in, 1987. Lefeuvre,Jean A. OUecrions d’inscriptions oraculaires en France. Taipei: Kuang-ch’i, 1985. Li, Hsiieh-ch’in ^ ^ M fj and P’eng, Yii-shang Yin-hsii chia-ku fen-ch’i yen-chiu Shanghai: Shang-hai Ku-chi, 1996. Li, Hsiieh-ch’in m m m et al., eds. Ying-kuo so ts’ang chia-ku chi H|iI#TjS&^P#^i. Peking: Chung-hua, 1985. Liu, Heng §!|'[t. Yin-ch’i ts’un-kaoW&&f$b- Harbin: Hei-lung-chiang Chiao-yii, 1990. Lo, Chen-yii HH3L, Wang Kuo-wei Tung Tso-pin and Chu Ch’i-hsiang ^ IK#. Chia-ku ssu-t’ang lun-wen hsiian-chi 3d H ^. Taipei: Hsiieh-sheng, 1990. Ma,Ju-sen Yin-hsii chia-ku-wenyin-lun Shanghai: Hua-tung Shih-ta, 1993. Shaughnessy, Edward L., ed. New Sources ofEarly Chinese History. An Introduction to the Reading o f Inscriptions and Manuscripts. Berkeley: The Society for the Study of Early China and The Institute of East Asian Studies, University of California, 1997. The only monograph in a Western language on this subject; basic reference which appends an excellent bibliography. Shirakawa, Shizuka fiJIIW#. Kokotsu kimbungaku ronshu Kyoto: H6yu, 1996. Wang, Yii-hsin ed. Chia-ku-wen yii Yin-Shang shih ■£. v. 3. Shanghai: Shang-hai Ku-chi, 1991. Wu, Hao-k’un and P’an Yu MM. Chung-kuo chia-ku-hsiieh shih Taipei: Kuan-ya Wen-hua, 1990. Yang, Shu-ta Chi-wei-chu chia-wen shuo Shanghai: Shang-hai Ku-chi, 1986.
Yii, Sheng-wu T#t=F and Yao Hsiao-sui Peking: Chung-hua, 1996.
Chia-ku wen-tzu ku-lin
Chia Tao M S (779-843) Editions and Rtferences Chia Tao chiian M S # . In Ch’iian T’ang shih so-yin, 1994. Li, Chia-yen Ch’ang-chiang Chi hsin-chiao Shanghai: Shang-hai Ku-chi, 1983. Appends chronological biographies and a study of Chia’s friends. Liu, Ssu-han MmWi- Meng Chiao, Chia Tao shih hsiian Hong Kong: San-lien, 1986. Luan, Kuei-ming £S$i|B£l. Ch’uan T’ang Shih so-yin: Chia Tao chiian : M S#. Ch’in-huang-tao: Hsien-tai, 1994. Studies Ashidate, Ichiro itfl. “Ka T6 shi shitan” Yamagata Daigaku kiyd-Jinbun kagakuXLll.l (1996): 147-162. Ching, K’ai-hsiian “Chia Tao shih-chi k’ao-pien” Wen shih 37 (1993): 213-29. Fang, Jih-hsi M 0 Wf- “Chia Tao k’ao-cheng erh-tse” WU5# ! ! —MO- Wen-hsiieh i-ch’an 1992.6: 106-8. Li, Chih-wen “Lun Chia Tao tsai T’ang-shih fa-chan-shih te ti-wei”|iM li-fe ll 11 Wen-hsiieh i-ts’an 1989.5: 79-86. T’ung, P’ei-chi “Chia Tao shih ch’ung-ch’u chen-pien” Ho-nan Ta-hsiieh hsiieh-pao 60 (1985): 44-49. Wu, Ju-yii and Hsieh Jung-fti “Li Chia-yen Chia Tao Nien-p’u Ting-pu” Liao-ning Kuang-po Tien-shih Ta-hsiieh hsiieh-pao 1987.3: 1-6.
Chiang Chieh MM (1245-1310) Editions and Rtferences Chiang, Chieh MM- Chu-shan tz’u ^ \\\M . Ssu-k’u, 1983, v. 1488. Chu, Hsiao-tsang (1857-1931), comp. Chiang-ts’un ts’ung-shuM^SWtfk- Hsia Chin-kuan WMtM, ed. Rpt. Shanghai: Shang-hai Ku-chi, 1989 (1922). Studies Liu, Ch’ing-yiin MlStM- “Chiang Chieh jen-p’in tz’u-p’in tzu-feng ch’u-t’an” ^QlAnat^aaSl M w M , Wen-hsiieh i-ch’an 1984.1: 74-83. Yang, Hai-ming “Kuan-yii Chiang Chieh te chia-shih ho shih-chi” In T’ang Sung tz’u lun-kao. Hangchow: Che-chiang Ku-chi, 1988, pp. 311-313. Ye, Yang|£j§. “Chiang Chieh and His Tz’u Poetry,1nJSYS24 (1994): 21-41.
Chiang Ch’un-lin
(1818-1868)
Editions and Rtferences Chiang, Ch’un-lin Shui-yiin Lou shih-tz’u kao-ho pen hai, 1969.
Taipei: Wen-
Studies Feng, Ch’i-yung #§3$jj|f, ed. Chiang Lu-t'an nien-p’u k ’ao-lUeh; Shui-yUn-lou shih tz’u chi-ciao M Tsinan: Ch’i-Lu Shu-she, 1986.
Chiang-hsi shth-p’ai Studies Mo, Li-feng Chiang-hsi shih-p’ai yen-chiu Tsinan: Ch’i-Lu Shu-she, 1986. Nan-ching Ta-hsiieh Ku-tien Wen-hsien Yen-chiu So chuan-k’an. Appends essays on the politics of the school members and Huang T’ing-chien’s* literary theories.
Chiang K’uei
(1155-1221) 1163-1203
Editions and References Chiang, K’uei HSf. Chiang Pai-shih shih-chi chien-chu Sun Hsiian-ch’ang M. comm. Li An-kang coll. Taiyuan: Shan-hsiJen-min, 1986. .Hsu shu p ’u i chiian. Taipei: Hsin-hsing, 1988. Pi-chi hsiao-shuo ta-kuan, 9 pien. __ . Po-shih Tao-jen shih-chi Erl E U A i ^ l . Shanghai: Shang-hai Shu-tien, 1987. Yin, Kuang-hsi Chiang K ’uei shih tz’u shang-hsi chi Chengtu: Pa-Shu Shu-she, 1994.
_
mmm.
Translations Landau, Beyond Spring, pp. 202-214. Studies Liu, Wan. “Allusion and Vision: Chiang K’uei’s Twin Poems on Plum Blossoms in the Yung-wu (Poetry on Objects) Tradition,” AM, I S 8.1 (1995): 94-121.
Chiang Shih-ch’iian M ± & (1725-1784) 1785? Editions and References Chiang, Shih-ch’iian Chiang Shih-ch’Uan hsi-ch’Uchi Chou Miao-chung ed. Peking: Chung-hua, 1993. Modem critical edition. __ . Chung-ya T’ang chi chiao-chien Shao Hai-ch’ing SB#!?#, coll. Li Meng-sheng mW Qi, comm. 5v. Shanghai: Shang-hai Ku-chi, 1993. Chung-kuo ku-tien wen-hsiieh ts’ung-shu Appends biographical material. __ . Chung-ya Tang shih-ch’ao Hirai Taka ed. Tokyo: Iwanami, 1978. Reprint of an 1815 edition printed in Kyoto by Kinkudo sfe^S'a'. __ . Lin-ch’uan meng EUJlll?. 2 chuan. Shao Hai-ch’ing ed. and comm. Shanghai: Shang-hai Ku-chi, 1989. Ku-tai hsi-ch’U ts’ung-shu. Modern critical edition which appends material relevant to Chiang’s life. __ . Tung-ch’ing shu Shao Hai-ch’ing ed. and comm. Shanghai: Shang-hai Ku-chi, 1988. Ku-tai hsi-ch’u ts’ung-shu. Translations Forke, Alfred and Martin Gimm. Zwei chinesische Singsspiele der Qing-Dynastie (Li Yu undJiang Shiquan) UbersetzJt von Aired Forke. Stuttgart: Steiner, 1993. Ubersetzjungen chinesischer Dramentexte, 2; Sinologica Coloniensia 16. Appends a translation of an anonymous
“Singspiel” from the Yiian dynasty byJohn Hefter. Chiang Yen
(444-505)
Studies Chang, Ya-hsin iMEE#f. “Yung Chiang Yen “hsiao-juan-kung shih shih-wu shou” ($& i7C^^P~f"SIf) . Kuei-chou wen-shih ts’ung-k’an27 (1987): 107-113. Chou, Feng MM- “Chiang Yen ts’ai-chin yii Yung-ming wen-feng de kuan-hsi” Hsiieh-shu yen-chiu 700(1990): 89-93. Ts’ao, Tao-heng “Chiang Yen, Shen Yiieh he Nan-Ch’i shih-feng” WMB,- Ho-pei Shih-yilan hsiieh-pao (1986): 21-33. __ . “Chiang Yen tso-p’in hsieh-tso nien-tai k’ao” I-wen chih 1985: 55_97. __ . “Pao Chao yii Chiang Yen” i&flgffjl?!;. Ch’i-Lu hsiieh-k’an 91.6 (1991). Yii, Shao-ch’u “Chiang Yen nien-p’u” Chung-kuo ku-chi yen-chiu 43l®'fi'$t V. 1. Shanghai: Shang-hai Ku-chi, 1996, pp. 405-441.
Chiao-fang chi
(Record of the Court Entertainment Bureau)
Editions and Rtferences Jen, Pan-t’ang ed. and comm. Chiao-fang chi ifei&sB. Peking: Chung-hua, 1962. Appends a useful study of the chiao-fang in Lo-yang and Ch’ang-an. Translations Saito, Shigeru
Kydbd ki, Hokuri shi
Tokyo: Heibonsha, 1992.
Chiao-Hung chi Editions Meng, Ch’eng-shu Chiao-Hung chi JfillEIB. Ou-yang Kuang WM%, ed. and comm. Shanghai: Shang-hai Ku-chi, 1988. Ku-tai hsi-ch’ii tsung-shu. Translations Ito, Sohei Kyo Ko k i M W . Tokyo: Heibonsha, 1994.
Chiao-jan
(730-799)
Editions and Rtferences Hsii, Ch’ing-yiin jfrtSS. Chiao-jan ‘Shih shih’ chi-chiao hsin-pien Taipei: Wen-shih-che, 1984. Li, Chuang-ying ^% kM , annot. ‘Shih shih’ chiao-chu Tsinan: Ch’i-Lu Shu-she, 1986. Studies Ch’en, Hsi-chung “Chiao-jan shih-lun pan-pen hsiao-lun” bungaku ronshd 16 (1988): 1-10. Ch’i, Hsii-pang “Chiao-jan chiao-yu sheng-p’ing k’ao”
Ch&goku Pei-ching
She-hui K ’o-hsiieh 1991.3: 106-17. Chia, Chin-hua WWW- “Chiao-jan lun Ta-li Chiang-nan shih-jen pien-hsi” In Tang-tai wen-hsiieh yen-chiu nien-chien, 1986 1986. Sian: Shan-hsiJen-min, 1987, pp. 147-151. __ . Chiao-jan nien-p’u Amoy: Hsia-men Ta-hsiieh, 1992. Hsu, Ch’ing-yiin Ittffz?. Chiao-jan shih shih yen-chiu Taipei: Wen-shih-che, 1988. Kawachi, Shoen MrtBBIB. “Shiso Kozen no bukkyo” fc, Bungei Ronshu 42 (1994): 84-107. Kdzen, Hiroshi f W £ . “Kozen Shishiki no k6z6 to riron” Chugoku bungakuM, 50 (1995): 68-80. Sun, Ch’ang-wu W M lk- “Lun Chiao-jan Shih shih” Wen-hsiieh p ’ing-lun 1986.1: 102- 11. Wang, Meng-ou “Lun Chiao-jan Shih shih” Chung-hua wen-hua fii-hsing yiieh-kan 14.3 (1981): 8-14. Wang, Yiin-hsi 3EM88. “Chiao-jan shih-hsiieh shu-p’ing” Kuei-chou Ta-hsiieh hsiieh-pao 1991.1: 7-16. Chiao-se JSP-fe or Studies Liao, T’eng-yeh “Yiian Ming hsi-ch’u ‘hun’ chiao-se yen-chiu” Tai-chungShang-chuan hsUeh-pao29 (1997.6): 193-223. Wang, Kuo-wei lEWlfife (1877-1927). Ku-chii Chiao-se k ’ao 1 chiian. Hai-ning Wang Chung-ch’Ueh Kung i - s h u & lt, Ssu chi E3^. 1927. Chien-teng hsin-hua
(New Stories Written While Trimming the Wick)
Editions and Rtferences Akiyoshi, Kukio fX a Sento shinwa kotei 35l^0rfSfetT. Kyoto: Chugoku Bungaku Hydronsha, 1985. Ch’ii, Yu life . Chien-teng hsin-hua wai erh-chung ®. Shanghai: Ku-tien Wenhsiieh, 1957. Standard modem critical edition. Also contains Chien-tengyU-hua and Mi-tengyin-hua __ . Kuei-t’ien shih-hua 2 chiian. Taipei: Hsin-hsing, 1989. Pi-chi hsiao-shuo ta-kuan, 6 pien, 6. __ . Ssu-shih i-chi E3B#!iL©. Peking: Chung-hua, 1985. TSCC edition. __ . Le-ch’Uan shih chi Tokyo: Takahashi Seiho 1991. Based on a mss. held in the Naikaku Bunko. Translations Dars, Jacques. En mouchant la chandeUe, nouveUes chinoises des Ming Paris: Gallimard, 1986. Iizuka, Akira Zento shinwa Tokyo: Heibonsha, 1994. Chugoku koten bungaku taikei, 39. Studies Ch’en, 1-yuan
Chien-teng hsin-hua yii Ch’uan-ch’i man-lu chih pi-chiao yen-chiu W $t Taipei: Hsiieh-sheng, 19&\ Chung-kuo hsiao-shuo yen-chiu
ts’ung-k’an, 11. Ishimi, Kenji “Shonen jidal no Ku Ya to Sento shinwa” !g, Gakurin 13 (1989): 15-29. Hsiieh, K’o-ch’ueh w % m . Chien-tenghsin-huayti ch’i-t’a Chiao-yii, 1993.
t Wj@t%f
Liaoyang: Liao-ning
Ch’ien Ch’i flftffi (722-780) Editions and References Tabei, Fumio ed. Sen Ki shi sakuin Tokyo: Kyuin Shoin, 1986 Wang, Ting-chang ;£3e-^, ed. Ch’ien Ch’i shih-chi chiao-chu Hangchow: Chechiang Ku-chi, 1992. Studies Ashidate, Ichiro W iL —I®. “Sen Ki no shisaku-taireki shi e no apurochi” ^f^cO T 7°n — Yamagata Daigaku 13.3 (1994): 404-418. Lo, Yiian-lieh MfLZU- “Kuan-yii Ch’ien Ch’i ‘Hsiang-ling ku-se’ shih te i-hsieh wen-t’i” Kuang-choujih-pao, 14 August 1991. Ma, Chih-chin H'tt'sfe. “Kuan-yii Ch’ien Ch’i te teng-ti shih-chien yii tso-chu” Chiang-hai hsiieh-k’an 1991.5.
Ch’ien Ch’ien-i ggH # (1582-1664) Editions and References Ch’ien, Ch’ien-i isSHsE. Lieh-ch’ao shih-chi Shanghai: San-lien, 1989. Photolithic reprint of die 1652 Chi-ku Ko iK: c*f|SI edition. __ . Mu-chai ch’u-hsiieh chi Ch’ien Tseng fits' (1629-1701), comm. Ch’ien Chunglien M W W (1908-), ed. 3v. Shanghai: Shang-hai Ku-chi, 1985. Chung-kuo ku-tien wen-hsiieh ts’ung-shu. Modern critical edition. __ . Mu-chai yu-hsileh chifytW ^mM . Ch’ien Chung-lien (1908-), ed. 3v. Shanghai: Shang-hai Ku-chi, 1996. Modern critical edition. Translations Strassberg, Inscribed Landscapes, pp. 313-316. Studies Chaves, Jonathan. “The Yellow Mountain Poems of Ch’ien Ch’ien-i (1582-1664): Poetry as Yu-chi, "IffA S 48(1988), 465-92. Chien, Hsiu-chiian Ch’ien Ch’ien-i tsang-shu yen-chiu Taipei: Han-mei, 1991. T’u-shu-kuan hsiieh yii t&i-hsun k ’o-hsueh lun-wen ts’ung-k’an, Series 2, #6.
Ch’ien Wei-yen
(977-1034 or 962-1034)
Editions and References Ch’ien, Wei-yen Chia-wang ku-shih W3L1&M. Taipei: Hsin-hsing, 1985. Pi-chi hsiao-shuo ta-kuan, 38pien. Ch’uan Sung shih, 2:94-95.1056-1072.
chih-kuai /&fl (records of anomalies) Editions and Rtferences Ch’eng, I-chung^Hg^. Ku hsiao-shuo chien-mu ^ /M £ lS g . Peking: Chung-hua, 1981. Entries cite traditional bibliographies and editions; see also the review of this volume and that immediately below (Chung-kuo wen-yen hsiao-shuo shih-kao) by John B. Brennan in CLEAR! (1985): 179-185. Chou, T’ien-ch’ing ed. Liu-ch’ao chih-kuai hsiao-shuo hsiian-i Ku-tai wen-shih ming-chu hsiian-i ts’ung-shu ’tSiX'X'kMWiWMM.Wt. Chengtu: Pa-Shu Shu-she, 1990. Hou, Chung-i (w/ Liu Shih-lin 801ft# for volume 2). Chung-kuo wen-yen hsiao-shuo shih-kao 2v. Peking: Pei-ching Ta-hsiieh, 1990 and 1993. The first volume is dedicated to pre-Sung classical-language fiction; see also comments under Ch’eng I-chung above. __ . Chung-kuo wen-yen hsiao-shuo ts’an-k’ao Peking: Pei-ching Ta-hsiieh, 1985. Excerpts from prefaces, bibliographies, etc. similar to Huang Ling and Han Tung-wen’s works supplemented by a more catholic selection of comparative materials from dynastic histories and related works. “Hsien-Ch’in chih Sui-T’ang te hsiao-shuo” J/.M&, in Chung-kuo hsiao-shuo shih Chinese Department, Peking University, compilers. Peking: Jen-min Wen-hsiieh, 1978. A standard, sixty-page account of pre-Sung fiction; bibliography, although outdated, lists modem editions. Liu, Chien-kuo Sung-tai chih-kuai ch’uan-ch’i hsii-lu Tientsin: Nank’ai Ta-hsiieh, 1997. __ , ed. T ’ang-ch’ien chih-kuai hsiao-shuo chi-shih Shanghai: Shang-hai Ku-chi, 1986. Li, Ko-fei and Wu Chih-ta ^ * 3 1 , ed. Wen-yen hsiao-shuo, Hsien Ch’in-Nan-pai Ch’ao chiian jCm'he#*, Chengchow: Chung-chou Ku-chi, 1987. Liu, Shih-te mum, ed. Wei Chin Nan-pei ch’ao hsiao-shuo hsiian-chu. Shanghai: Shang-hai Ku-chi, 1984. Liu, Yung-lien ed. Chung-kuo chih-kuai hsiao-shuo hsiian-i 'f Peking: Chung-kuo Hsi-chii, 1996. Lu, Jun-hsiang M M # and Shen Wei-lin eds. Li-tai chih-kuai ta-kuan jHftifefSAil. Shanghai: San-lien, 1996. Morino, Shigeo Rikucho koshdsetsu goi shu Kyoto: H6yu Shoten, 1989. Tominaga, Kazuto “Rojin shu Ko shosetsu koshinkbshaka-Retsui den” Te*! > m m m m i - m m m , Hiroshima Daigaku Bungakubu kiyo 54.2 (1994): 1-90. Tominaga, Kazuto “Rojin shu Ko shosetsu koshin koshaku-Shikai fl, Hiroshima Daigaku Bungakubu kiyo 53 (1993): 80-92. Wang,Ju-t’ao ed. Ch’iian T’ang hsiao-shuo Tsinan: Shan-tung Wen-i, 1993. A collection of 49 ch’uan-ch’i and 138 collections of “hsiao-shuo;”most useful for an overview of T’ang “fiction” but should be used in tandem with scholarly editions. __ , ed. Tang-tai chih-kuai hsiao-shuo hsiian-i Tsinan: Ch’i Lu Shu-she, 1985. Selections primarily from Hsiian kuai-lu and its sequel. Yuan, Hang-p’ei and Hou Chung-i eds. Chung-kuo wen-yen hsiao-shuo shu-mu ct3®^CW/JN^ S :@- Peking: Pei-ching Ta-hsiieh, 1981. Contains a long section on chih-kuai and another on ch’uan-ch’i (T’ang); each entry cites traditional bibliographies, lists important editions, and occasionally mentions a modem study. Modern critical editions are not listed.
Translations Kao, Karl S. Classical Chinese Tales of the Supernatural and Fantastic-Selectionsfrom the Third to the Tenth Century. Bloomington: Indiana University Press, 1986. The most extensive collection of chih-kuai and ch’uan-ch’i in English; interesting theoretical preface. Yuan, Mei. Censored by Confucius, Ghost Stories by Yuan Mei Translated by Kam Louie and Louise Edwards. Armonk, N.Y.: M.E. Sharpe, 1996. Studies Campany, Robert F. “Ghosts Matter: The Culture of Ghosts in Six Dynasties Zhiguai” CLEAR 13 (1991): 15-34. Campany, Robert Ford. Strange Writing, Anomaly Accounts in Early Medieval China. Ithaca, N.Y.: SUNY Press, 1996. Standard study of the genre in English. Chan, Tak-hung Leo. “’To Admonish and Exhort’: The Didactics of the Zhiguai Tale in Ji Yun’s ‘Yuewei caotang biji.”*Unpublished Ph. D. dissertation, Indiana Univ., 1991. Chiang, Lan-sheng Wei Chin Nan-pei ch’ao hsiao-shuo tz’u-yii hui-shih Iff® 01#. Peking: Yii-wen, 1988. Chou, Tz’u-chi Liu-ch’ao chih-kuai hsiao-shuo yen-chiu Taipei: Wen-chin, 1986. Short study revised from an M.A. thesis. Dudbridge, Glen. Religious Experience and Lay Society in T ’ang China, A Reading o f Tai Fu’s Krnng-i chi Cambridge and New York: Cambridge University Press, 1996. Careful, meticulous study which suggests chih-kuai were not conceived as fiction. Eichhom, Werner. “Das Tung-ming chi des Kuo Hsien.” In Religion und Philosophic in Ostasien: Festschrift fiir Hans Steininger, ed. G. Naundort. 291-300. Wurzburg: Konighausen und Neumann, 1985. Fyler, Jennifer Lynn. “Social Criticism in Traditional Legends: Supernatural Women in Chinese Zhiguai and German Sagen.” Unpublished Ph.D. dissertation, University of Massachusetts, 1993. Hsiieh, Hui-ch’i m m m . Liu-ch’ao Fo-chiao chih-kuai hsiao-shuo yen-chiu. Taipei: Wen-chin, 1995. Kondo, Haruo Chugoku no kaiki to bijo-shikai, denki no sekai 41S (D iO t f l • ‘fzBSfO'ffi:#. Tokyo: Musashino Shoin 1992. Liu, Chien-kuo Tang-ch’ien chih-kuai hsiao-shuo shih /SBt/StS-'ha&jfe. Tientsin: Nan-k’ai Ta-hsiieh, 1984. Liu, Yeh-ch’iu m m Ku-tien hsiao-shuo pi-chi lun-ts’ung. Tientsin: Nan-k’ai Ta-hsiieh, 1985. Liu, Yiian-ju MUftMl. “Tsa-chuan-t’i chih-kuai yii shih-chuan te kuan-hsi-ts’ung wen-lei kuannien so-tso te kao-ch’a” Chungkuo wen-che yen-chiu chi-k’an, 8 (March 1996): 365-400. Wang Chih-chung 3E^J£. Han Wei Liu-ch’ao hsiao-shuo shih $S§S/Ni8/JsS££i. Hangchow: Che-chiang Ku-chi, 1997. Wang, Kuo-liang HUIJi. Liu-ch’ao chih-kuai hsiao-shuo k ’ao-lun Taipei: Wen-shih-che, 1988. Yen, Hui-ch’i mmm. Liu-ch’ao chih-kuai hsiao-shuo i-Ui yin-yiian ku-shih yen-chiu m W tft. Taipei: Wen-chin, 1994. Yuan, Mei. Censored by Confucius, Ghost Stories by Yuan Mei Kam Louie and Louise Edwards, eds. and trans. Armonk, New York: M.E. Sharpe, 1996.
Chih Yii Jtjft (d. 311) Editions and References Chih, Yii HJ& Chih T’ai-ch’ang i-shu
Chang P’eng-i 311§— (1867-1944), ed.
Lanchow: Lan-chou Ku-chi, 1990. Photolithic copy of 1935 Shan-hsi T’ung-chih-kuan ll® edition. Kmn-chung ts’ung-shu. __ , annot. San-fu chiieh-lu Peking: Chung-hua, 1991. Chin Ho
(1819-1885)
Studies Ma, Ch’un Hf$. “Liieh-lun Chin Ho te feng-tz’u shih chi ch’i ‘Lan-ling nii-erh hsing’.” Jen-wen tsa-chih 11 (1981): 60-4.
Chin-ku chH-kuan
(Wonders of the Present and Past)
Editions and References Chin-ku ch’i-ku a n ^f^^W .- 40 chiian. 4v. Shanghai: Shang-hai Ku-chi, 1990. Ku-pen hsiao-shuo chi-ch’eng Photolithic reprint of the Ta-hsing XM edition held in the Shanghai Library. __ . Feng Shang U S , ed. and comm. Shanghai: Shang-hai Ku-chi, 1992. Shih-ta ku-tien pai-hua tuan-p’ien hsiao-shuo ts’ung-shu. Translations Chida, Kyuichi T fflA — and Komada Shinji Kinko kikan Heibonsha, 1994. Chugoku koten bungaku taikei, 37-38. Kanaoka, Makoto Hokukei kanwa Kinko kikan
Chin P’ing Mei
2v. Tokyo: Tokyo: Fuji, 1985.
(The Plum in the Golden Vase)
Editions and References Chang, Hui-ying Chin P ’ingMei li-su nan-tz’u chieh Peking: She-hui K’o-hsiieh Wen-hsien, 1992. Ch’i-yen W M and [Wang] Ju-mei [3:] eds. Hsin-k’o hsiu-hsiangp’i-p’ing Chin P’ingMei 2v. Hongkong: San-lien and Tsinan: Ch’i-Lu Shu-she, 1990. Chin P’ingMei chien-shang tz’u-tien Shang-hai-shih Hung-lou mengHsiieh-hui and Shang-hai Shih-fan Ta-hstieh Wen-hsiieh Yen-chiu-so, eds. Shanghai: Shang-hai Ku-chi, 1990. Appends a chart (inserted page) of the characters in the novel and essays on the author, period of completion, and editions. Chu, I-hsiian ed. Chin P’ingMei tzu-liao hui-pien Tientsin: Nan-k’ai Ta-hsiieh, 1985. Appends a list of characters in the novel and a chronological list of events. Fang, Ming ed. Chin P ’ing Mei tzu-liao hui-lu Hofei: Huang-shan Shu-she, 1986. Hou, Chung-i IsUSIS and WangJu-mei eds. Chin P’ingMei tzu-liao hui-pien (Tseng-ting pen) (iflgT^). Peking: Pei-ching Ta-hsiieh, 1995. Chung-kuo ku-tien hsiao-shuo hsi-ch’u yen-chiu tzu-liao ts’ung-shu. Appends a bibliography. Hu, Wen-pin Chin P ’ing Mei ta tz’u-tien Shenyang: Liao-ning Jen-min, 1986. Appends an index. Huang, Lin HW, ed. Chin P’ing Mei ta tz’u-tien Chengtu: Pa-Shu Shu-she, 1991. Appends an index of entries. __ , ed. Chin P ’ing Mei tzu-liao hui-pien Peking: Chung-hua, 1987. Ku-tien
wen-hsiieh yen-chiu tzji-liao hui-pien Li, Pu-ch’ing Chin P’ing Mei li-yU su-yen Peking: Pao-wen T’ang Shu-tien, 1988. Li, Shen Chin P ’ing Mei jen-wu pei-chu lun Peking: Pei-ching Shih-fan Hsiieh-yiian, 1992. Appends a Pinyin index. Li, Yii (1611-1680). Hsin-k’o hsiu-hsiang p ’i-p’ing Chin P’ing Mei WtMM&l&WskMW. Huang Lin MM, Chang Ping 58^, and Ku Yiieh HIS, comm. Hangchow: Che-chiang Ku-chi, 1992. Liu, Pen-tungfiJ^^ and Liao T’ien-hua eds. Chin P’ing Mei Taipei: San-min, 1990. Appends a glossary. Pai, Wei-kuo fill® . Chin P’ingMei tz’u-tien 1^. Peking: Chung-hua, 1991. Appends a list of hsieh-hou yii found in the novel. Pao, Yen-i ed. Chin Ping Mei yii-tz’u su-yiian iizflEffSsigf SB®. Peking: Hua-hsia, 1997. Shih, Ch’ang-yii 5 HMJ. Chin P’ingMei chien-shang tz’u-tien Peking: Pei-ching Shih-fan Ta-hsiieh, 1989. Wang, Ju-mei 3 E a n d Li Chao-hsiin eds. Chang Chu-p’o p’i-p’ing Chin P’ing Mei 2v. Tsinan: Ch’i-Lu Shu-she, 1991. This 100-chapter version appends a bibliography. Wang, Li-ch’i ed. Chin P’ingMei tz’u-tien Changchun: Chi-lin Wen-shih, 1988. Appends essays on problems in explicating the language of the Chin P’ingMei as well as an index. Translations Hatano, Taro !|$, ed. and annot. Chugoku bungaku gogaku shiryd shusei dai 1 pen dai 1 kan M 1 MM 1 # . Okanami Kankyo W^lKISr. Kinpeibai yakubun Tokyo: Fuji Shuppan, 1988. Kibat, Artur. Djin-ping-meh: Sittenroman aus der Ming-Zeit-Schlehenbliiten in goldener Vases. Herbert Franke, ed. Frankfurt: Uttstein, 1987. Murakami, Tomoyuki f'tJbfcflfr. KinPeiBai 1-4. Tokyo: Shakai Shisosha, 1984?. Ono, Shinobu /JnIKS and Chida, Kyuichi . Kon Hei Bai 3v. Tokyo: Heibonsha, 1994. Chugoku koten bungaku taikei, 33-35. Okanami Kanky6 Kon Hei Bai yakubun Tokyo: Fuji, 1989. Chugoku bungaku gogaku shiryb shusei First Series, #1. Roy, David. The Plum in the Golden Vase, or, Chin P’ingMei. Volume 1: The Gathering. Princeton: Princeton University Press, 1993. Studies Bieg, Lutz. “Das kommentierteJin Ping Mei,” Hefte 8 (May 1995): 140-145. __ . “Marginalien zum gegenwartigen Stand der Jin Ping Mei-Forschung” Hefte 2 (April 1984): 94-105. Bischoff, Friedrich Alexander. Djin Ping Meh: Epitome und analytischer Namenindex gemass der (Jberstezung der Bruder Kibat. Vienna: Verlag der Osterrichischen Akademie der Wissenschaften, 1997. Brommelhoerster, Jorn. Chinesische Romanliteratur im Western: Eine Oberstezungskritik des mingzeitlichen RomansJin Ping Met Bochum: Brockmeyer, 1990. Chinathemen 50. Carlitz, Katherine. The Rhetoric of the Chin p ’ing mei. Bloomington: Indiana University Press, I985. Chang, Chin-ch’ih 38§®?tiJ. Chung-kuo ssu-ta ku-tien hsiao-shuo lun-kao 4*® Peking: Hua-i, 1993.
Chang, Kuo-feng MMM,. Chin P’ing Mei miao-hui te shih-su jen-chien izffitSJSMWtfctftfA frfl. Peking: Shu-mu Wen-hsien, 1992. Chang, Lin jjgJft. Chin P’ingMei tsung-heng t’an Nanning: Kuang-hsiJen-min, 1990. Chang, Yeh-min 3SH®t Chin P ’ing Mei te i-shu mei Peking: Chiao-yii K’o-hsiieh, 1992. Chang, Yiian-fen Chin P’ing Mei hsin-cheng Tsinan: Ch’i-Lu Shu-she, 1984. Appends biographical materials on Chia San-chin Cheng, Jun ®pj. Chin P’ing Mei ho T’u ’’Lung Shanghai: Hsiieh-lin, 1994. Appends a chronological biography of T’u Lung (1543-1605). Chin P ’ing Mei lun-chi Hsii Shuo-fang and Liu Hui MM, eds. Peking: Jen-min Wen-hsiieh, 1986. Chin P’ing Mei yen-chiu Chung-kuo Chin P’ing Mei Hsiieh-hui eds. Nanking: Chiang-su Ku-chi, 1990. Chin P’ing Mei yen-chiu Fu-tan hsiieh-pao fjf and She-hui k’o-hsiieh-pan }± eds. Shanghai: Fu-tan Ta-hsiieh, 1984. Appends a history of Chin P’ing Mei studies and a bibliography. Chou, Chung-ming Chin P’ing Mei i-shu lun Nanning: Kuang-hsi Chiao-yii, 1992. Chou, Chiin-t’ao Chin P ’ing Mei su-ts’ai lai-yuan Chengchow: Chungchou Ku-chi, 1991. Chou, Hui-fan Chin P ’ing Mei shih-hsiian Changsha: Hu-nan Wen-i, 1992. Cheng, Ch’ing-shan MIS. lii- Chin P’ingMei lun kao Shenyang: Liao-ningJen-min, 1987. Chin P’ingMei i-shu shih-chieh Chi-lin Ta-hsiieh Chung-kuo Wen-hua Yenchiu-so, eds. Changchun: Chi-lin Ta-hsiieh, 1991. Chung-kuo hsiao-shuo yii ch’uan-t’ung wen-hua yen-chiu ts’ung-shu. Chu, Hsing (1912-1982) Chin P’ingMei k’ao-cheng Tientsin: Pai-hua Wen-i, 1989. Fu, Tseng-heng Chin P ’ing Mei yin-yii chieh-mi ^ I S #!?£'• Tientsin: Pai-hua Wen-i, 1993. A study of the colloquial expressions in the novel. Hayata, Teruhiro “Manbun ’Kon Hei Bai jo’ yakuchu” Ajia Afurika bunpo kenkyu 23 (1995): 27-38. Hsiao, M engftf? and Ch’iijen ®{Z. Chin P’ingMeifeng-su t’an IfeffifSHlf-fttik. Chengchow: Chung-yiian Nung-min, 1993. Hsieh, Ch’ing-lan Chin P’ingMei yii Fo-tao {#ti. Peking: Pei-ching Yen-shan, 1994. Hu, Wen-pin Chin P’ing Mei te shih-chieh Harbin: Pei-fang Wen-i, 1987. Appends a bibliography. Huang, Lin MM- Chin P’ingMei man-hua Shanghai: Hsiieh-lin, 1986. __ and Wang Kuo-an trans. Jih-pen yen-chiu Chin P’ingMei lun-wen chi St. Tsinan: Ch’i-Lu Shu-she, 1989. Huang, Martin Weizong. “The Dilemma of Chinese Lyricism and the Qing Literati Novel.” Unpublished Ph. D. dissertation, Washington University, 1991. Studies how basic assumptions of lyricism are expressed in this novel and in Hung-lou meng. Kao, Yiieh-feng Chin P ’ingMeijen-wupei-chii lun Tsinan: Ch’i-Lu Shu-she, 1988. Kusaka, Midori 0 T § l. “Kon Hei Bai sakuhinko” Chubun kenkyu shukan, 2 (1990): 13-40. Li, Shih-jen ^B#A. Chin P’ing Mei hsin-lun ifeffEflSfffi. Shanghai: Hsiieh-lin, 1991. d p
Liu, Hui and Yang Yang MM, eds. Chin P’ing Mei chih mi Peking: Shu-mu Wen-hsien, 1989. __ • Chin P’ingMei ch’eng-shu yii pan-pen yen-chiu Shenyang: Liao-ning Jen-min, 1986. Lo, Te-jung MWM- Chin P’ingMeisan nii-hsing t’ou-shih& W feB& W & M . Tientsin: T’ien-chin Ta-hsiieh, 1992. Contains three studies of the major female characters. Ning, Tsung-i ■and Lo Te-jung $!$§$§, eds. Chin P’ingMei tui hsiao-shuo mei-hsiieh te kung-hsien Tientsin: T’ien-chin She-hui K’o-hsiieh-yuan, 1992. Pao, Chen-nan QWIM, K’ou Hsiao-wei xgBfl'81 and Chang Hsiao-ying eds. Chin P’ineMei chi chi-t’a sfeJSMSK-iSlftfl. Changchun: Chi-lin Wen-shih, 1991. Pu, Chien F$t. Chin P ’ing Mei tso-che L i K ’ai-hsien k ’ao £%• Lanchow: Kan-su Jen-min, 1988. Appends a bibliography and a chronological biography of Li K’ai-hsien. Rushton, Peter Halliday. The Jin Ping Mei and the Non-linear Dimensions o f the Traditional Chinese Novel San Francisco: Mellen Research University Press, 1994. Revised version of Rushton’s Ph. D. dissertation. Satyendra, Indira Suh. “Toward a Poetics of the Chinese Novel: A Study of the Prefatory Poems in the Chin P’ingMei tz’u-hua.”Unpublished Ph. D. dissertation, University of Chicago, 1989. Scott, Mary Elizabeth. “Azure from Indigo: Hong lou mengs Debt to Jin Ping Mei.” Unpublished Ph. D. dissertation, Princeton University, 1989. Shen, T’ien-yu Chin P’ing Mei yii Hung-lou meng tsung-heng t ’an Peking: Pei-ching Ta-hsiieh, 1990. Shih, Ch’ang-yii and Yin Kung-hung Chin P’ingMeijen-wupei-chii lun A $9ft- Nanking: Chiang-su Ku-chi, 1988. Sun, Chin-hua w m . Chin P ’ingMei te nii-hsing shih-ehieh Chengchow: Chung-chou Ku-chi, 1991. Sun, Sun MM and Chan Tan Chin P’ingMei kai-shuo Shanghai: Shang-hai Ku-chi, 1994. Chung-kuo ku-tien wen-hsiieh chi-pen chih-shih ts’ung-shu Ting, Yao-k’ang TJS/C (1599-1669). Chin P’ingMei hsii-shu san-chung Lu-ho I p and Hsing-yiieh M.B, eds. Tsinan: Ch’i-Lu Shu-she, 1988. Contains Hsii Chin P ’ingM eiM & m m , Ko-lien hua-yingM^TB^, and Chin-wu meng4&MWTs’ai, Kuo-liang MMM- Chin P’ingMei k ’ao-chengyii yen-chiu Sian: Shan-hsi Jen-min, 1984. Ts’ai, Tun-yung HSfcH. Chin P’ing Mei tz’u-hua chii-ch’ii p ’in-t’an ft pnSI. Nanking: Chiang-su Wen-i, 1989. Tu, Wei-mo and Liu Hui §8#?, eds. Chin P’ing Mei yen-chiu Tsinan: Ch’i-Lu Shu-she, 1988. Wang, Chih-wu 3E;Sji£. Chin P’ingMei jen-wu pei-chii lun Sian: Shan-hsi Jen-min Chiao-yii, 1992. Wang, Ching-lin 3 iM w and Hsii T’ao Chin P’ing Mei chung te Fo-tsung Tao-ying Peking: Wen-hua I-shu, 1991. Wang, Ju-mei Chin P’ing Mei t’an-so Changchun: Chi-lin Ta-hsiieh, 1990. Wei, Tzu-yiin fSHPit. Chin P’ingMei teyu-yin tan-chao^MM^l'MMMM- Taipei: Hsiieh-sheng, 1988. Chung-kuo hsiao-shuo yen-chiu ts’ung-k’an, 9. __ . Chin P’ing Mei yen-chiu erh-shih nien Taipei: T’ai-wan Shang-wu Yin-shu-kuan, 1993. Hsin-jenjen-wen k ’u, 35. __ , ed. Chin P ’ing Mei yen-chiu tzu-liao hui-pien 2v. Taipei: T’ien-i, 1987-89. The first volume contains essays, prefaces, and illustrations; the second
__ . Chin P’ing Mei y&an-mao t ’an-so Taipei: Hsiieh-sheng, 1985. Various useful appendixes. __ . Hsiao-shuo Chin P’ingMei Taipei: Hsiieh-sheng, 1988. Wu, Hung and Hu Pang-wei ^ ^ 5 ^ . Ch’in P’ing Mei te ssu-hsiang ho i-shu Chengtu: Pa-Shu Shu-she, 1987. Yeh, Kuei-t’ung and Sung P’ei-hsien eds. Chin P ’ingMeijen-wu cheng-chuan £ M W AffilEM . Peking: Nan-hai, 1991. Yii, Ch’eng-wu T t&.jS,. Chin P ’ingMeip’ing-i^M M ^W i- Peking: Wen-chin, 1992. Chin Sheng-t’an &3glg (1608/10-1661) 1607-1661 Editions and Rtferences Chin, Sheng-t’an Chin Sheng-t’an chiian-chi Ts’ao Fang-jen If}?A and Chou Hsi-shan ed. 4v. Nanking: Chiang-su Ku-chi, 1985. __ . Chin Sheng-t’an hsUan-p’i T’ang-shih Che-chiang Ku-chi Chu-pan-she, ed. Hangchow: Che-chiang Ku-chi, 1985. __ . Chin Sheng-t’an hsiian-p ’i Tang-shih l i u - p a i s h o u W il. Shih Chien-chung and Sui Shu-fen Pdr®^, eds. Peking: Pei-ching, 1989. Appends a biography of Chin. __ . Chin Sheng-t’an p ’i-p’ing Shui-hu chuan^M M M M '^M M - Liu I-chou lt!j— ed. Tsinan: Ch’i-Lu Shu-she, 1991. Based on the 120-chapter version. ___ . Chin Sheng-t’an p ’i ts’ai-tzu ku-wen Chang Kuo-kuang ed. Wuhan: Hu-peiJen-min, 1986. ___ . Ti-liu ts’ai-tzu shu 'Hsi-hsiang chi’ H 8 chiian. Tsinan: Shan-tung Wen-i, 1987. ___ . Ti-wu ts’ai-tzu shu Hsi-hsiang chi’ Wen Tzu-sheng ed. Chengchow: Chung-chou Ku-chi, 1985. Studies Chang Kuo-kuang MM%. Shui-hu yii Chin Sheng-t’an yen-chiu Chengchow: Chung-chou Shu-hua-she, 1981. Appends correspondence between Chin Sheng-t’an and Hsi Yung-jen $3a H SW © H ilt, Chugoku Bungaku Ronshu21(1992).
Ku-wen
(ancient-style prose)
Editions and References Ch’in, K’ang-tsung ed. Chung-kuo san-wen tz’u-tien Peking: Pei-ching Ch’u-pan-she, 1993. Liu, Lan-ying ed. Ku-wen chih-shih tz’u-tien Nanning: Kuang-hsi, 1992. Lu, Ch’ing-fei SBfffit, ed. Tang-Sung pa-ta-chia san-wen chien-shang tz’u-tien Peking: Chung-kuo Fu-nii, 1991. Mao, K’un (1512-1601). T’angSungpa-ta chia wen-ch’ao Ch’en Chia 8$ Stl et al., eds. Shenyang: Shen-yang Ch’u-pan-she, 1997. T ’ang-Sung pa-ta-chia san-wen chUan-chi Peking: Chin-jih Chung-kuo, 1996. Wu, Kung-cheng ^#JlE, ed. Ku-wen chien-shang tz’u-tien Nanking: Chiang-su Wen-i, 1987. Yii, Ch’eng (Ch’ing dynasty). Ku-wen shih-i Lii Ying S U et aL, eds. Peking: Pei-ching Ku-chi, 1998. Yii, Kuan-ying et a l, eds. Tang-Sung pa-ta-chia ch’tian-chi Peking: Kuo-chi Wen-hua, 1997. Translation Kakei, Fumio T6 So hakka b u n K a n s h o Ch&goku no koten 20 M K i p M O ' t i A 2 0 .Tokyo: KadokawaShoten 1989 Studies Chu, Shang-shu # 2 $ # . Pei-Sungku-wen-ytin-tungfa-chan-shih Chengtu: Pa-Shu Shu-she, 1995. Jen, Fang-ch’iu “Yiin Ching te ku-wen wen-lun chi ch’i yii T’ung-ch’eng-p’ai te kuan-hsi” Wen-hsUeh i-ch’an 1984.3: 87-93. Kuo, Yii-heng Chung-kuo san-wen shih Shanghai: Shang-hai Ku-chi, 1993. Liu, Kuo-ying MM&- T ’ang-tai ku-wen-ytin-tung lun-kao Sian: Shan-hsi Jen-min, 1984. ‘ Ono, Shihei /J'SyiZS^. “Ryo Shoku kara Ryu Sdgen e -‘T6dai kobun no genryfl’ hosetsu” ffilg, ShUkan Toyogaku66 (1992): 83-101. __ . “T6dai kobun no genryu-Kaigen, Tenb6 ki o chushin ni” 4s'£>{£, Miyagi Kyoiku Daigaku kiyo, 25 (1991): 31-66. Sun, Ch’ang-wu T’ang-tai ku-wen-yUn-tung t’ung-lun /Sf'ilifjtMStlSilSf. Tientsin: Paihua Wen-i, 1984. Wang, Chou-ming Ku-wen yii p ’ien-wen %. Tsinan: Shang-tung Wen-i, 1992. Wu, Hsiao-lin Chung-kuo san-wen mei-hsiieh shih Harbin: Hei-lungchiangjen-min, 1993.
Ku-wen kuan-chih
(The Finest of Ancient Prose)
Editions and References Liu, Hsiieh-lin and Ch’ih-to M M, eds. Ku-wen kuan-chih tz’u-tien Sian: Shan-hsi Jen-min, 1994. Kuan, Yuni;-li ed. Ku-wen kuan-chih Hsii ku-wen kuan-chih chien-shang tz’u-tien ihilll&itSSlhllnlitS&ft. Shanghai: Shang-hai T’ung-chi Ta-hsiieh, 1990.
Ming-chia ching-i Ku-wen kuan-chih ZiM ffiW & 'ScM lk. Peking: Chung-hua, 1993. Yang, Chin-ting ed. Ku-wen kuan-chih ch’iian « ' Hofei: An-hui Chiao-yii, 1990. Yin, Fa-lu ed. Ku-wen kuan-chih i-chu "Si&illhiSft. Rev. ed. Peking: Pei-ching Wen-hsiieh, 1997. Yiian Mei et al., eds. Ku-wen kuan-chih chin i Tsinan: Ch’i-Lu Shu-she, 1983.
Ku-wen-tz’u lei-tsuan and Verse)
Classified Compendium of Ancient-style Prose
Editions Mu-jung, Chen We&M, ed. Lin Shu hsiian p ’ing Ku-wen-tz’u lei tsuan Hangchow: Che-chiang Ku-chi, 1986. Sung, Ching-ju and Chang, Jung eds. Ku-wen-tz’u lei tsuan Peking: Chung-kuo Shu-tien, 1986. Yao, Nai ffl&jm (1732-1815), ed. Hsi-pao-hsUan ch’iian-chi Peking: Chung-kuo Shu-tien, 1991. Studies Wang, Chen-yiian 3E0|j&. Tung-ch’eng-p’a i Shanghai: Shang-hai Ku-chi, 1990. Wang, Hsien-yung3El)R^C. T ’ung-ch’engwen-p’a iffiffiX w - Peking: Chung-hua, 1984.
Ku Yen-wu
(1613-1682)
Editions and References Huang, Ju-ch’eng MfaW, (1799-1837), comm., ed.Jih-chih lu chi-shih SfcOl&SM?. Changsha: Yiieh-Lu, 1994. Punctuated and edited by Ch’in K’o-ch’eng SSUJtLM. Ku, Yen-wu. Tsa iu m m . Pi-chi hsiao-shuo ta-kuan sanpien. Taipei: Hsin-hsing Shu-chii, 1988. ___ . Sheng-an pen-chi Chung-kuo yeh-shih chi-ch’eng. Chengtu: Pa-Shu Shu-she, 1993. Li, Yung-yu and Kuo, Ch’eng-t’ao Wj&lg, eds. Ku Yen-wu shih wen hsiian i Chengtu: Pa-Shu Shu-she, 1991. Wang, Ch’ii-ch’ang etal, eds. Ku "Ting-lin shih-chihui-chuW&W!fe$k$£&L. Chung-kuo ku-tien wen-hsiieh ts’ung-shu. Shanghai: Shang-hai Ku-chi, 1983. Translations Strassberg, Inscribed Landscapes, pp. 353-360. Studies Chen, Tsu-wu Yen-wu lSj%5£. Chung-kuo li-shih hsiao ts’ung-shu. Peking: Chung-hua, 1984. Fukumoto, Masakazu m * w - . “Ko Enbu to Konzan Yoshi” Bungei ronsd42 (1994): 235-55. Lu, Hsing-chi j£ H S . Ku Yen-wu Taipei: Wan-chiian-lou, 1993. (Rpt. of Shang-hai Ku-chi, 1978.)
Kuan Han-ch’ing MMM{ca. 1240-ca. 1320) Editions and References Hsu, Ch’in-chiin ed. Yiian ch’ii ssu ta-chia ming-chii hsiian T sinanCh’i-Lu Shu-she, 1987. Annotation versions of 16 plays by 4 of the best Yiian playwrights. Huang, Shih-chung fftfciS, ed. Kuan Han-ch’ing tsa-chii hsiian-i Chengtu: Pa-Shu Shu-she, 1991. Lan, Li-ming WOtM- Kuan Han-ch’ing hsi-ch’ii tz’u-tien Chengtu: Ssu-ch’uan, 1997. Li, Han-ch’iu and Yiian Yu-fen eds. Kuan Han-ch’ing yen-chiu tzu-liao ISS'$|)W Shanghai: Shang-hai Ku-chi, 1988. Li, Han-chiu and Chou, Wei-p’ei eds. Kuan Han-ch’ing san-chii chi MWkWWt Shanghai: Shang-hai Ku-chi, 1990. Ma, Hsin-lai H^5|5, ed. Kuan Han-ch’ing chi Taiyuan: Shan-hsi, 1997. Wang, Hsiieh-ch’i Wu Chen-ch’ing and Wang Ching-chu HifPtt, eds. Kuan Han-ch’ing ch’iian-chi chiao-chu Shih-chia-chuang: Ho-pei Chiao-yii, 1988. Annotated versions of 18 plays, 3 fragments, and 76 san-ch’ii followed by a bibliography. Wang, Kang 1£M, ed. Kuan Han-ch’ing yen-chiu tzu-liao hui-k’ao Peking: Chung-kuo Hsi-chii, 1988. . Wu, Kuo-ch’in ^SSltK, ed. Kuan Han-ch’ing ch’iian-chi Canton: Kuang-tung Kao-teng Chiao-yii, 1988. Includes all of Kuan’s san-ch’ii and his 18 plays; appends a discussion of materials on Kuan’s life and works. Studies Chang, Ytieh-chung 41 and Lu Pin St®, eds. Kuan Han-ch’ing yen-chiu hsin-lun ffitlj'UDBW Shih-chia-chuang: Hua-shan Wen-i, 1989. Contains 30 papers from a conference held in 1988 in Hopei. Chang, Yiin-sheng Sgflife.. Kuan Han-ch’ing chuan lun JSBMIWflSnt. Peking: K’ai-ming IPJi, 1990. Chung, Lin-pin Kuan Han-ch’ing hsi-chii lun-kao Chung-kuo ku-tai tso-chia yen-chiu ts’ung-shu, Sian: Shan-hsiJen-min, 1986. Fu, Hongchu. “The Feminist Issues in Yiian Tsa-chii; Rereading Kuan Han-ch’ing’s Chiu Feng Ch’en.” In Proceeding ofInternational Conference on Kuan Han-ch’ing ed. Tseng Yong-yih [Tseng Yung-i]. 303-25. Taipei: Facility of Arts, National Taiwan University, 1994. Hsii, Tzu-fang Kuan Han-ch’ing yen-chiu Taipei: Wen-chin, 1994. Idema, W. L. “Some Aspects of Pai-yiieh-t’ing: Script and Performance.” In Proceedings of International Conference on Kuan Han-ch’ing, ed. Tseng Yong-yih [Tseng Yung-i], 55-77. Taipei: Faculty of Arts, National Taiwan University, 1994. Kuan Han-ch’ing Kuo-chi Hsiieh-shu Yen-t’ao-hui|JS?JIWfflp^^$rMfi#', ed Kuan Han-ch’ing kuo-chi hsiieh-shu yen-t’ao-hui lun-wen chi Taipei: Wenchien Hui, 1994. Li, Han-ch’iu Kuan Han-ch’ing ming-chii hsin-shang Hofei: An-huei Wen-i, 1986. Liu, Wu-chi. “Kuan Han-ch’ing: The Man and His Life,”7 ^ 22 (1990-92): 63-87. Oberstenfeld, Werner. China’s bedeutendster Dramatiker der Mongolenzeit (1280-1368), Kuan Han-ch’ing; Kuan Han-ch’ing Rezeption in der Volksrepublik China derjahre 1954-65 mit einer kommentierten Oberstetzung des Singspiels vom Goldfadenteich (Chin-chien ch’ih) sowie einer ausfiihrlichen bibliographischen Obersicht zu Kuan Han-ch’ing als Theaterschriftsteller. Frankfiirt: Peter Lang, 1983.
Shih, Chung-wen. “The Images of Women in Kuan Han-ch’ing’s Plays.” In Proceedings o f International Conference on Kuan Han-ch’ing Tseng Yong-yih [Tseng Yung-i], ed... Taipei: Faculty of Arts, National Taiwan University, 1994, pp. 291-301. Sieber, Patricia Angela. “Rhetoric, Romance, and Intertextuality: The MaJking and Remaking of Guan Hanqing in Yuan and Ming China.” Ph.D., University of California, Berkeley, 1994. Argues that Yiian tsa-chu and san-ch’u were authored in colloboration with Yiian authors and Ming imperial, commercial and literati editors. West, Stephen H. “A Study in Appropriation: Zang Maoxun’s Injustice to Dou Y.”JAOS 111 (1991): 283-302. West, Stephen H. “Law and Ethics, Appearance and Actuality in Rescriptor in Waiting; Pao Thrice Investigates the Butterfly Dream.” In Proceedings ofInternational Conference on Kuan Han-ch’ing. Tseng Yong-yih [Tseng Yung-i], ed. Taipei: Faculty of Arts, National Taiwan University, 1994, pp. 93-112. Kuan-hsiu Wftc (832-912) Studies Liu, Fang-chingSJTaiJi. “Kuan-hsiu shih-ko ting-pu” Wen-hsien 1991.3. Nienhauser, William H.,Jr. “The Development of Two y««A-/a:Themes in the Eighth and Ninth Centuries-Implications for T’ang Literary History,” TkR 10(1984-5): 118-9. Translations of and commentary on three yueh-fu by Kuan-hsiu.
Kuan Yun-shih WMfi (1286-1324) Editions and References Ch’en Chia-ho ed. Suan t’ienyiieh-fii
Kuei Fu
Shanghai: Shang-hai Ku-chi, 1989.
(1736-1805)
Editions and Rtferences Chao, Chih-hai MU?#!, ed. Cha-p’u Peking: Chung-hua, 1992. Wan-hsiieh chiW i^^k- Peking: Chung-hua, 1985.
Kuei Yu-kuang
(1507-1517)
Editions Chang, Chia-ying and Hsu, Chih-hsien eds. Kuei Yu-kuang san-wen hsiian-chi S§W:)fciOCillSi. Tientsin: Pai-hua Wen-i, 1995. Hsieh, Chen mm, ed. Chen-ch’uan chifltjlllfe. Shanghai: Shang-hai Ku-chi, 1993.
K ’un-ch’U Editions ed. Hui-t’u ching-hsUan k ’un-ch’Uta-cA’flan 1991. (Rpt. of Shang-hai Shih-chieh Shu-chii, 1925.) K ’un-ch’Uch’U-p’ai chi t’ao-shufan-li chi-Nan-t’aoMM
I-an
Tokyo: Fuji Shuppan, —1$k££. 2v. Shanghai:
Studies Hu, Chi and Liu Chih-chung K ’un-chU fa-chan shih Chung-kuo hsi-chii chii-chungshih ts’ung-shu. Peking: Chung-kuo Hsi-ch’ii, 1989. K’un-shan Kuo-yiieh Pao-ts’un-hui ed. K ’un-ch’U ts’ui-ts’un ch’u-chi Tokyo: Fuji Shuppan, 1990. (Rpt. of Shang-hai Ch’ao-chi Shu-chuang, 1919.) Leung, K. C. “Balance and Symmetry in the Huan-sha chi” THHP, N S 16 (1984): 179-201. Mackerras, Colin. “Regional Theatre in South China during the Ming.” Han-hsiieh yen-chiu 6 (1988): 645-72. Mark, Lindi Li. “Kunju and Theatre in the Transvestite Novel Pinhua Baojian (Mirror of Flowered Ranks).” Chinoperl 14 (1986): 37-59. Wang, Shou-t’ai K ’un-ch’u ko-lU M lttlS#. Nanking: Chiang-suJen-min, 1982.
Kung-tH shih HTflif (palace-style poetry) Studies ltd, Masafumi “Kyfi tai shi no seiritsu ni tsuite” Kansai Daigaku Chugoku Bungakkai kiyd 10 (1989): 25-49. Nakasuji, Kenkichi $jjK#ei?.“Kyfl tai shi to ‘Gyokudai shinei’” Hf#!# t NipponChugoku-gakkai-ho 41 (1989): 92-106. Rouzer, Paul. “Watchingthe Voyeurs: Palace Poetry and Yuefk” CLEAR 11 (1989): 13-34. Sakagushi, Miki jKPHM . “Kyutaishi kenkyu josetsu-sono seikaku o megutte” 1§7G. In Iriya Kydju Ogawa Kydju taikyu kinen Chugoku Bungaku Gogaku ronshu 11 41S (Studies on Chinese Literature and linguistics Dedicated to Professors Iriya Yoshitaka and Ogawa Tamaki on Their Retirement from Kyoto University). Kyoto: Kyoto University, 1974, pp: 301-313. __ . “Shinsen T. Higashi Ajia bunka ro«jfi(1991): 33-48. Wang, Nien-sun 3L1&M. (1744-1832). “Shih-chi tsa-chih” In Wang’s Tu-shu tsa-chih Originally printed from 1812-1831; 2v; Rpt. Taipei: Shih-chieh, 1963, v. 1, pp. 71-173. Wang, Shu-min Shih-chi chiao-cheng 10v. Taipei: Chung-yang Yen-chiu Yiian, Ld-shih Yii-yen Yen-chiu So, 1982, No. 87. Watson, Burton. “The Shih chi and I.” CLEAR 17 (1995): 199-206. Watson’s reminiscences on his study of the Shih-chi Wu, Ju-yii Shih-chi lun-kao 5&iEi§f$5. Nanking: Chiang-su Chiao-yii, 1986. __ . “Ssu-ma Chen Shih-chi So-yin yii Chu-shu chi-nien” Wenhsien 16 (1983): 73-81. Wu, Kuo-t’ai Shih-chi chieh-ku j£j!B$¥s£. Tientsin: T’ien-chin She-hui K’o-hsiieh-yiian Ch’u-pan-she, 1993. Wu, Shu-p’ing ed. Shih-chi Han shu chu-piao ting-pu shih-chung W. 2v. Peking: Chung-hua, 1982. Includes Liang Yii-sheng’s “Jen-piao k’ao” A ^ # (pp. 465-943) and Wang Yiieh’s 2E® (fl 1720) “Tu Shih-chi shih-piao” tJjjilsS+iS (pp. 1-81). Yang, Hsii-min m m m . “Shih-t’ung tsun Pan i Ma pien” Hsii-chou Shih-yiian hsiieh-pao m m u m m 1983.3. Yang, Yen-ch’i Shih-chi te hsiieh-shu ch’eng-chiu Peking: Pei-ching Shih-fan Ta-hsiieh, 1996. __ . “Shih-chi yen-chiu shih shu-liieh” In Shih-hsiieh lun-heng Pei-ching Shih-fan Ta-hsu/ehLi-shih Hsi, ed. Peking: Pei-ching Shih-fan Ta-hsiieh Ch’u-pan-she, pp. 103-116. __ , Ch’en K’o-ch’ing fe n j# , Lai Chang-yang eds. Li-tai ming-chia p ’ing Shih-chi M Peking: Pei-ching Shih-fan Ta-hsueh, 1986. Yoshihara, Hideo “Shiki ni mieru ‘choja’ ni tsuite” [fifefEJ OV^T. Kanbungaku ronshu (1991). Shth-ching f# M (Classic of Poetry) Editions and Rtferences Ch’en, Hung-ta and Lii Lan eds. Shih-ching so-yin Peking: Shu-mu Wen-hsien, 1984. Concordance and original text. Ch’en, Tzu-chan Kuo-feng hsiian-i MMMM- Shanghai: Ch’un-ming, 1956. __ Ya Sung hsiian-i Shanghai: Shang-hai Ku-chi, 1986 (rev. ed.). One of the best modem commentaries on the last two sections of the Shih-ching. Ch’en’s Kuo-feng hsiian-i and Ya Sung hsiian-i have been published together in a single volume entided Kuo-feng Ya Sung hsiian-i in Hsin-chu, Taiwan by Yang-che Ch’u-pan-she in 1987. Ch’eng, Chiin-ying W & M , comm. Shih-ching i-chu ivfMPSL Shanghai: Shang-hai Ku-chi, 1985. Chiang, Yin-hsiang 2 3 # , comm. Shih-ching i-chu Peking: Chung-kuo Shu-tien, 1982. Chou, Hsiao-t’ien ed. Shih-ching chien-shang chi-ch’eng 2v. Taipei: Wu-nan, 1994. Contains various indexes, maps and bibliograhical information.
__ ed. Shih-ching Ch’u-tz’u chien-shang tz’u-tien Chengtu: Ssu-ch’uan Tz’ushu, 1990. Useful bibliography. Chu, Min-ch’e et aL, comms. Shih-ching i-chu tvfMUfL Lanchow: Kan-su Jen-min, 1984. Chung, Fu and T’ao Chiin eds. Tu-shih wu-chung so-yin - Shanghai: Shang-hai Ku-chi, 1992. Chung-kuo Shih-chingHsiieh-hui Ch’ou-ch’ou Liieh-hui ed. Shih-ching yao-chi chi-ch ’eng Tientsin: Nan-k’ai Ta-hsiieh,1994. Hsiang, Hsi [rJ||. Shih-ching tz’u-tien Chengtu: Ssu-ch’uan Jen-min, 1986. Contains various phonological charts, bibliographical materials and an index. Jen, Tzu-pin i i & M and Ho Chin-chien $m tH , eds. Shih-ching chian-shang tz’u-tien H-ft. Peking: Ho-hai Ta-hsiieh, 1989. Appends a very useful bibliography. Lan, Chii-sun MMM- Shih-ching Kuo-feng chin-i lifcM M wfrM - Chengtu: Ssu-ch’uan Jen-min, 1982. Appends a bibliography. Lau, D. C. and Fong Ching, eds. Shih-ching chu-tzu so-yin I. Hong Kong: Shang-wu Yin-shu-kuan, 1994. ICS ancient Chinese text concordance series. Li, Tzu-wei comm. Shih-ching i-chu kuo-feng fiu-fen Lanchow: Lan-chou Ta-hsiieh, 1992. Lin, Ch’ing-chang &&$!}, et al, eds. “Shih-ching In Ching-hsiieh yen-chiu lun-chu mu-lu (Bibliography of Research on the Classics). 2v. Taipei: Han-hsiieh Yen-chiu Chung-hsin (Center for Chinese Studies): 1989, pp. 272-496. Loewe, Michael. “Shih-ching” AM. In Early Chinese Texts, pp. 415-423. Murayama, Yoshihiro ttlLlcjJCk and Eguchi Naozumi eds. Shikyo kenkyU bunken mokuroku Tokyo: Kyuko Shoin, 1992. Shikyo kenkyd v. 1- (1974- ). Tokyo: Waseda Daigaku. Publishes an annual bibliography of studies injapan on the Shih-ching. Tung, Chih-an i ? p $ , ed. Shih-ching tz’u-tienM ^. Tsinan: Shan-tung Chiao-yii, 1989. Wang, Hsien-ch’ien comm. Shih San-chia i-chi shu 2v. Peking: Chunghua, 1987. Translations Hsii, Yiian-ch’ung trans. and Chiang Hsing-chang HJSlij£i, ed. Book o fPoetry. Changsha: Hu-nan Ch’u-pan-she, 1993. Koeser, Heide, trans. Das Liederbuch der Chinesen: Guofeng. Lieder aus den einzelnen Landesteilen. Frankfurt: Insel Verlag, 1990. Mekada, Makoto 13in EHM. Shikyo i f H. Tokyo: Kodansha, 1991. Okamura, Shigeru [551fcfS£- Mo shi seigiyakuchu, vol. Fukuoka: Chugoku Shoten, 1986. Shirakawa, Shizuka fijll# . Shikyo kokuju Tokyo: Heibonsha, 1990. Stukina, A. Siczxn. Moscow: Chudozestv. Literatura, 1987. Wang, Shou-min EEtFJss. Shih-ching erh-ya hsiian-p’ing Sian: Shan-hsi Shih-fan Ta-hsiieh, 1989. Wu, Hung-i Pai-hua Shih-ching [StSivflM. 2v. Taipei: Lien-ching, 1993. Studies Akatsuka, Kiyoshi TfcMfc, ed. Shikyo kenkyu f$$£$F3u. Tokyo: Kenbunsha, 1986. Akatsuka Kiyoshi chosaku shu, 5. Asselin, Mark Laurent. “TTie Lu-School Reading of ‘Guanju’ as Preserved in an Eastern Han Ju”JAOS 117 (1997): 427-443. Baxter, William H. III. “Zhou and Han Phonology in the Shijing.”In Studies in the Historical
Phonology ofAsian Languages. William G. Boltz and Michael G. Shapiro, eds. Amsterdam and Philadelphia: Benjamins, 1991, pp. 1-34. Chang, Christopher Shang-kuan. “The Lost Horizon: A Study of English Translations of the ‘Shijing’.” Unpublished Ph.D. dissertation, University of Texas, Austin, 1992. Chang, Yun-chung M it'P. Shih-chingku-yiin chin-chu Taipei: T’ai-wan Shangwu, 1987. Chao, Chih-yang Mrfs!lE§. Shih-ching ming-chup’ing-chieh Taipei: Hsiieh-sheng, 1983. Chao, P’ei-lin Shih-ching yen-chiufan-ssu Tientsin: T’ien-chin Chiao-yii, 1989. Appends a variety of bibliographical information and an index. Ch’en, T’ieh-pin W.M&. Shih-ching chieh-shuo WMMWl- Peking: Shu-mu Wen-hsien, 1985. Ch’en, Tzu-chan Shih-ching chih-chieh 2v. Shanghai: Fu-tan Ta-hsiieh, 1983. __ and Tu Yueh-ts’un tfc£3 fcj\ Shih-ching tao-tu Chengtu: Pa-Shu Shu-she, 199?*. Ch’eng, Chiin-ying Shih-chitig man-hua Shanghai: Shang-hai Wen-i, 1983. __ , ed. Shih-ching shang-hsi chi Chengtu: Pa-Shu Shu-she, 1989. __ and Chiang Chien-yiian MM.7C- Shih-ching chu-hsi Peking: Chung-hua, 1991. Chung-kuo ku-tien wen-hsiieh chi-pen ts’ung-shu. Useful explications and notes. Chi, H s i i - s h e n g Shih-chingku-i hsin-chengWM.'iiMffiaa.- Taipei: Wen-shih-che, 1994. Chiang, Chien-t’ien and Chu Chieh-jen Shih-ching yao-chi chieh-t’i MM- Shanghai: Shang-hai Ku-chi, 1997. Chin, Ch’i-hua zStMiW, comm. Shih-ching ch’iian-shih Nanking: Chiang-su Ku-chi, 1984. Appends a bibliography. Dai, Wei-qun. “XingAgain: A Formal Re-investigation.” CLEAR 13 (1991): 1-14. Dobson, W.A.C.H. “On Translating the Book ofSongs,” Wen-lin, v. 2, pp. 33-44. Fang, Yii-jun (1811-1883). Shih-chingyuan-shih Peking: Chung-hua, 1986. Fowler, Verson. “Popular Improvised Poetry of Ancient China: The Origins of the Shijing” British Columbia Asian Review 3-4 (1990): 192-226. Fu, Li-p’u flUUm. Shih-chingMao-chuan i-chieh Mffl- V. 1. Taipei: T’ai-wan Shang-wu, 1985. Han, Ming-an c and Lin Hsiang-cheng Shih-ching mo-i Harbin: Hei-lung-chiangJen-min, 1991. __ . Shih-ching yen-chiu kai-kuan Harbin: Hei-lung-chiang Chiao-yii, 1988. Harbsmeier, Christoph. “Eroticism in Early Chinese Poetry, Sundry Comparative Notes.” In Das andere China, Festschrift fiir Wolfgang Bauer zjim 65. Geburtstag. Helwig SchmidtGlintzer, ed. Wiesbaden: Harrassowitz, 1995, pp. 323-380. Hsia, Ch’uan-ts’ai W M rf. “Shih-ching hsiieh ssu ta kung-an te hsien-tai chin-chan” Chung-kuo wen-che yen-chiu t’ung-hsiin 7.3 (September 1997): 17-34. __ . Shih-ching yen-chiu shih kai-yao Rpt. Taipei: Hsiieh-sheng, 1993 (1982). __ . Shih-chingyii-yen i-shu f t Min If l l ^ - Chengchow: Chung-chou Shu-hua She, 1982. Rpt. Taipei: Lung-yiin, 1990 (1985). __ . Shih-ching yii-yen i-shu hsin-pien Peking: Yii-wen, 1998. Hsiang, Hsi [n]||. Shih-ching yii-yen yen-chiu Chengtu: Ssu-ch’uan Jen-min, 1987. __ . Shih-ching ku-chin yin shou-ts’e W f M Tientsin: Nan-k’ai Ta-hsiieh, 1988. Hsieh, Ch’ien-i SMIS- “Chungyii ku”-Shih-ching te t’ao-yii chi ch’i chuang-tsofang-shih Chengtu: Ssu-ch’uanjen-min, 1990. Huang, Cho Mao-shih Cheng-chien p ’ing-i . Shanghai: Shang-hai Ku-chi, 1985. Huang, Chung-shen USSIX- Nan Sung san-chia Shih-ching hsiieh Taipei: Shang-wu, 1988. Discusses theories of Cheng Ch’iao Ch’eng Ta-ch’ang f§A S , and Chu Hsi
Huang, Tien-ch’eng Shih-ching t ’ung-i hsin-ch’iian Shanghai: Hua-tung Shih-fan Ta-hsiieh, 1992. Ko, Susan Schor. “Literary Politics in the Han.” Unpublished Ph. D. dissertation, Yale University, 1991. Focuses on the Shih-ching. Kung, Yii-hai !TdE?§. Shih-ching hsin-lun itM Uflt. Changsha: Chi-linJen-min, 1985. Kuo, Chin-hsi Shih-ching H-ts’eM M&M . Lanchow: Kan-suJen-min, 1993. Li, Chia-shu Shih ching te li-shih kung-an Taipei: Ta-an, 1990. Li, Hsiang Shih-ching yen-chiu hsin-pien Kaifeng: Ho-nan Ta-hsiieh, 1990. Lin, Ch’ing-chang ed. Shih-chingyen-diiu lun-chi Taipei: Hsiieh-sheng, 1987. Lin himself has appended a bibliography of basic works on the Shih-ching (Volume 1, pp. 503-514). Lin, Yeh-lien # . Chung-kuo li-tai Shih-ching hsiieh Taipei: Hsiieh-sheng Shu-chii, 1993. Liu, David Jason. “Parallel Structures in the Canon of Chinese Poetry: the Shih Ching” Poetics Today 4 (1983): 639-53. Lo. Pin-chi mmm. Shih-ching hsin-chieh yii ku-shih hsin-lun Taiyuan: Shan-hsijen-min, 1985. Lo, Wen-tsung Shih-ching shih-cheng^MMM.- Sian: Shan-hsijen-min, 1995. Ma, Tuan-ch’en M M and Hung Wen-t’ing Mao-shih chuan chien t ’ung-shih hsi-lun Taipei: Wen-chin, 1995?. Makizumi, Etsuko and Fukushima Yoshihiko %&$}'& Shikyo Soji Tokyo: Kadokawa Shoten, 1989. Matsmoto, Masaaki Shikyo kokufU hen no kenkyU In Matsumoto Masaaki Chosakushfl Henshu Iinkai ed. Matsmoto Masaaki chosaku shti, vol. 1 1. Tokyo: Kdsei Shorin, 1987. __ . Shikyo shohen no seiritsu ni kansuru kenkyu In Matsumoto Masaaki Chosakushu Henshu Iinkai ed. Matsmoto Masaaki chosaku shu, vols. 5-6 5-6. Tokyo: Kdsei Shorin, 1987. Mekada, Makoto Shikyo kenky(t$fW$$$&. Tokyo: Ryukei Shosha, 1985. Miao, Ronald C. Review of The Reading ofImagery in the Chinese Poetic Tradition by Pauline Yu. W AS, 51 (1991): 726-756. Nieh, Shih-ch’iao l a m et al. Shih-ching chien-shang chi t$S5Sflt2lS. Peking: Jen-min Wenhsiieh, 1986 Ohama, Hiroshi Shiki shitsu no sekai-Chugoku no rekishi kan HI A ll. Tokyo: T6h6 Shoten, 1993. Okamura, Shigeru Mo Shi seigi gakuchu Fukuoka: ChQgoku Shoten, 1986. Owen, Stephen. “The Great Preface.” In Readings in Chinese Literary Thought. Cambridge: Council on East Asian Studies, Harvard University, 1992, pp. 37-56. Pfister, Lauren. “James Legge’s Metrical Book c f Poetry.” BSOAS 60.1 (1997): 64-85. Points out Legge translated the Shih-ching into three distinct versions. Ren, Y. “Traditional Chinese Critics’ Response to the Confucian Exegesis of the Classic of Poetry: A Counter Tradition.” AmericanJournal of Chinese Studies 3 (1996): 40-53. Riegel, Jeffrey. “Eros, Introversion, and the Beginnings of Shijing Commentary.” W AS 57 (1997): 143-177. Important study of the Wu-hsingp’ien Sfxflt commentary (found at Ma-wang Tui) on several poems in the Shih-ching. Rollicke, Hermann-Josef. Die FShrte des Herzfins: die Lehre vom Her&nbestreben (zfii) im groseen Vorwort zum Shijing Berlin: Reimer, 1992. Saussy, Haim. The Problem o f a Chinese Aesthetic. Stanford: Stanford University Press, 1993. __ . “Repetition, Rhyme, and Exchange in the Book of Odes.”W AS 57.2 (December 1997):
Schaberg, David. “Calming the Heart: The Use of Shijing in Zuozhuan Narrative.” Papers on Chinese Literature I (1993): 1-20. Schmolz, Andrea. Vom Lied in der Gemeinschaft zur Lied&tat im text: Liedzitate in den Texten der Gelehrtentradition der sp&ten Chou-Zeit Egelsbach: Hansel-Hohenhausen, 1993. Published version of a dissertation (Munich University, 1991). Shaughnessy, Edward L. “From liturgy to Literature, the Ritual Contexts of the Earliest Poems in the Book ofPoetry.” Han-hsiieh yen-chiu 13.1 (June 1995): 133-164. Shih-chingyao-chi chi-ch’eng'£MMWi$k$L. Chung-kuo Shih cAi^Hsiieh-hui Ch’ou-ch’ou Liiehhui ^ ed. Tientsin: Nan-k’ai Ta-hsiieh,1994. Su, Tung-t’ien Shih-chingpien-i Hangchow: Che-chiang Ku-chi, 1992. Sun, Cecile Chu-chin. “Two Modes of Stanzaic Interaction in Shih-Ching and Their Implications for a Comparative Poetics.” TkR 19 (1988/89): 803-33. Sun, Chien-yiian and Chu Chieh-jen Shih-ching yao-chi chieh-t’i Shanghai: Shang-hai Ku-chi, 1997. Ti, Hsiang-chiin SMSIf. Shih-ching hsin-chieh Chengchow: Chung-chou Ku-chi, 1993. Van Zoeren, Steven. Poetry and Personality: Reading, Exegesis, and Hermeneutics in Traditional China. Stanford: Stanford University Press, 1991. A study of the history of the Shih-ching. Haun Saussy review in HJAS 53 (1993): 272-280. Wang, Chan-wei Shih-ching ming-p’ien chi-shih chi-p’ing i f Huhehot: Nei Meng-ku Chiao-yii, 1992. Wang, Changhong. “’Have no twisty thoughts’: Ezra Pound’s Translation of the ‘Shih ching.’” Unpublished Ph.D. dissertation, University of Pennsylvania, 1991. Wang, Ching-chih 3EHPS. Shih-ching t’ung-shih Taipei: Fu-jen Ta-hsiieh, 1985. Wang, Fu-chih lEJifcik. (1619-1692). Shih-ching pai-shu Ch’uan-shan Ch’iian-shu Pien-chi Wei-yuan Hui ed. Changsha: Yiieh-lu Shu-she, 1992. Ch’uan-shan Ch’iian-shu, 3. Wang, I i 3E^7 (1900-1986). Shih-chingyiin-tu Shanghai: Shang-hai Ku-chi, 1980. Wang, Shou-ch’ien 3:^1$ and Chin Shu-chen Shih-ching p ’ing-chu Qi. Changchun: Tung-pei Shih-fan Ta-hsiieh, 1989. Wang, Tsung-shih BEtkE. Shih-ching fen-lei ch’iian-shih Changsha: Hu-nan Chiao-yii, 1993. Wei, Chiung-jo f. Tu Feng chih hsin-chi |5. Sian: Shan-hsiJen-min, 1987. Wen, Hsing-fu Shih-ching Mao-chuan Cheng-chien p i e n - i M Taipei: Wen-shih-che, 1989. Wong, Siu-kit and Lee Kar-shui. “Poems of Depravity: A Twelfth Century Dispute on the Moral Character of the Book o fSongs.” TP 75 (1989): 209-225. __ . “Three English Translations of the Shijing.” Renditions 25 (1986): 113-139. Wu, Ko ed. Shih San-chia i-chi shu Wang Hsien-ch’ien (1842-1918), comm. 2v. Taipei: Ming-wen, 1988. Yang, Ho-ming S h i h - c h i n g c k i i - f a y e n - c h i u Wuchang: Wu-hanTa-hsiieh, 1993. Appends a bibliography and an index. __ and I i Chung-hua Shih-ching chu-t’i pien-hsi 2v. Nanning: Kuang-hsi Chiao-yii, 1989. Yao, Chi-heng Shih-ching t’ung-lun iff? IS si- Taipei: Kuang-wen, 1988. Yeh, Shu-hsien m m . Shih-ching te wen-hua ch’an-shih-Chung-kuo shih-ko tefa-shengyen-chiu (The Book o f Songs-A Cultural Hermeneutics). Wuhan: Hu-pei Jen-min, 1994. Yin, Chien-chang and Hsiao Yiieh-hsien Shih-ching ming-p’ien hsiang-hsi M M Chengchow: Chung-chou Ku-chi, 1993.
Yip, Wai-lim. “Vestiges of the Oral Dimension: Examples from the Shih-ching” Tamkang Review 16.1 (1985): 17-49. Yu, Pauline R. “Imagery in the Classic o f Poetry.” In The Reading ofImagery in the Chinese Poetic Tradition. Princeton: Princeton University Press, 1987, pp. 44-83. See also the important reviews by David R. McCraw in CLEAR 9 (July 1987): 129-39, and by Donald Holzman 'mJASAl (May 1988): 365-7. Yii, P’ei-lin Shih-ching cheng-ku 2v. Taipei: San-min, 1993. Yiian, Pao-ch’iian and Ch’en Chih-hsien Shih-ching t’an-weij&M&fflt. Canton: Hua-ch’eng, 1987. Zhang, Longxi. “I^ e Letter or the Spirit: The Song of Songs, Allegoresis, and the Book of Poetry.” Comparative Literature 39 (1987): 193-217. Shih-chou chi +#HI2 (Record of Ten Islands, fourth or fifth century) Editions and References Shih-chou chi Shanghai: Shang-hai Ku-chi, 1990
Shih-hm MtS (talks on poetry) Editions and Rrferences Chiang, Tsu-i and Ch’en Chih-ch’un eds. Chung-kuo shih-hm tz’u-tien Peking: Pei-chine Ch’u-pan-she, 1997. Li-tai shih-hua tz’u-hua hsiian Wuhan: Wu-han Ta-hsiieh, 1984. Compiled by the Chinese Department of Wu-han University. Wang, Hsiu-mei I f f # ? and Wang Ching-t’ung, et aL, eds. Sung-jen shih-hua wai-pien fc A ttte tti* . Peking: Kuo-chi Wen-hua, 1997. Translations Wong, Siu-kit, trans. Notes on Poetryfrom the Ginger Studio. Hong Kong: The Chinese University Press, 1987. Translation of Wu Fu-chih’s 3E^^. Chiang-chai shih-huaMMWsS. Studies Hsu, Hsiao-ching. “‘Talks on Poetry’ (Shih hua) as a Form of Sung Literary Criticism.” Unpublished Ph.D. dissertation, University of Wisconsin, 1991. Kozen, Hiroshi “iSfttAmkara shiwa e” Ch&goku bungakuho 47 (1993): 31-63.
Shih Nai-an SfcfefJi Studies Yii, Ta-p’ing Shih Nai-an hua Shui-hu: Ts’ao-mang lung-she Taipei: Ya-t’ai T’u-shu, 1995.
Shih-pHn f^on (An Evaluation of Poetry) Editions and Rrferences Chao, Fu-t’an m m m . Shih-p’in hsin-shih i f # . Canton: Hua-ch’eng, 1986.
Hsiang, Ch’ang-ch’ing ed. and comm. Shih-p’in chu-shih Tsinan: Ch’i-Lu Shu-she, 1986. Hsii, Ta ffrj£, comm. Shih-p’in ch’Uan-i Kweiyang: Kuei-chou Jen-min, 1990. Chung-kuo li-tai ming-chu ch’iian-i ts’ung-shu. Lii, Te-shen S0§e£, ed. ChungJung Shih-p’in chiao-shih Peking: Pei-ching Ta-hsiieh, 1986. Ts’ao, Hsii WAS- Shih-p’in chi-chu Shanghai: Shang-hai Ku-chi, 1994. Excellent front-matter on the text and its history. Wang, Shu-min 3E/S®. ChungJung Shih-p’in chien-cheng kao Taipei: Chungyang Yen-chiu Yiian, Chung-kuo Wen-che Yen-chiu So, 1992. Yiieh, Chung-i ed. ChungjungShih-p’in chiao-shihM M ^SM M - Nanning: Kuang-hsi Chiao-yii, 1990. Studies Chang, Pai-wei 36'ffift. “Chungjung Shih-p’in te p’i-p’ing fang-fa lun” fi. Chung-kuo She-hui k ’o-hsiieh 39 (1986): 159-170. __ . Chungjung Shih-p’in yen-chiu Nanking: Nan-ching Ta-hsiieh, 1993. Tang-tai wen-hsiieh ts’ung-k’an. Ch’en, Yiian-hsing W ltm .. Shih-p’inpien-tu Hofei: An-hui Chiao-yii, 1994. Ch’iao, Li Erh-shih-ssu Shih-p’in t’an-wei MfflL- Tsinan: Ch’i-Lu Shu-she, 1983. Fiihrer, Bernhard. Chinas erste Poetik das Shipin (Kritenon Poietikon) des Zkong Hong (4677-518). Dortmund: Projekt-Verl., 1995. “Zur Biographies des ZhongHong (467-518).” Acta Orientalia 46 (1-3 1992-3): 163-188. Hsii, Wen-yii t'FXM, ed. ChungJung Shih-p’in chiang-shu Chengtu: Ch’eng-tu Ku-chi Shu-tien, 1983. Kdzen, Hiroshi ShihinVsxdi shiwa e” £>jNfi!S'/'s, Chugoku bungakuho 47 (1993): 31-63. Mei, Yiin-sheng Chungjung ho Shih-p’in Shanghai: Shang-hai Ku-chi, 1982 Li, Hui-chiao (1938-1982). Shih-p’in hui-chu Han-kuo Ch’ing-pei: Ling-nan Ta-hsiieh-hsiao Ch’u-pan-pu, 1983. Portions of the study are written in Korean; appends a bibiliography and an index. Liao, Tung-liang “Lun Chungjung te hsing-hsiang p’i-p’ing” In Ku-tien wen-hsiieh; Ti-pa chi ’ HAIR. Hsiieh-sheng Shu-chii, ed. Taipei: Hsiieh-sheng Shu-chii, 1986,51-78. Shimizu, Yoshio “ChGgoku ni okeru 1980 nen ik6 no Sh6 K6 Shihin kenkyu gaikan (2)-Shihin to Bunshin chbryb no bungakukan no id6 ronso o chushin to shite”
j
(r) - im s j t ir *^
MMi L T . CMgokubungahM 45(1992). Wang, Fa-kuo BEft®. Shih-p’in k ’ao-so Chengtu: Ch’eng-tu K’o-chih Ta-hsiieh, 1993. Wang, Shu-min “Chungjung Shih-p’in kai-lun” Ml^fj$DP#&f§. Chung-kuo wen-che yen-chiu chi-k’an I (1991): 11-24. Wang, Yiin-hsi iEM ^. “Chungjung Skih-p’in lun li-tai wu-yen shih” i^f. Chung-hua wen-shih lun-ts’ung41 (1987): 223-251. Wixted, John Timothy. “The Nature of Evaluation in the Shih-p’in by Chungjung (A.D. 469-518).” In Theories o f Arts in China. Susan Bush and Christopher Murck, eds. Princeton: Princeton University Press, 1983,pp. 225-264. Yeh, Ch’ing-ping 3j£jR$3. “Shih-p’in yii jen-p’in” tfiHilfAiKi. Chung-wai wen-hsUeh 14:12 (1986): 6-13. Yii, K’o-k’un Wen-hsin tiao-hingyil Shih-p’in. Peking: Jen-min, 1989.
Shih-shuo hsin-yii 1£i£§f§§ (New Account of Tales of the World) Editions and Rtferences Chang, Hui-chih et al., eds. and comms. Shih-shuo hsin-yu hsiian-chu Shanghai: Shang-hai Ku-chi, 1987. __ , et al, comms. Shih-shuo hsin-yti i-chu WWiW\aaM&- Shanghai: Shang-hai Ku-chi, 1997. Chung-hua ku-chi i-chu ts’ung-shu. Chang, Yung-yen 3I|^< g|, et aL, eds. Shih-shuo hsin-yu tz’u-tien Chengtu: Ssu-ch’uanjen-min, 1992. Contains chronological tables and a bibliography. Ch’en, T’ao Bl}#, comm. Shih-shuo hsin-yii hsUan-ts’ui iftgfeIff§§!!$£• Tientsin: T’ien-chin Chiao-yii, 1987. Hsii, Chen-e ed. Shih-shuo hsin-yii chiao-chien • Peking: Chung-hua, 1984 and 1998. Chung-kuo ku-tien wen-hsiieh chi-pen tsung-shu. Yang Yung’s MM 1973 edition, Yii Chia-hsi’s text (1983), and this book are the most useful modem commentaries; see also Chiang Tsung-hsii’s notes on Hsu’s work in Ku-chi cheng-Uyen-chiu hsUeh-k’an56 (1995): 15-22. Hsii, Shao-tsao ed. Shih-shuo hsin-yii i-chu Changchun: Chi-lin Chiao-yii, 1980; 1991. Liu, Shih-chen #P±$|, ed. Shih-shuo hsin-yii Chengtu: Pa-Shu Shu-she, 1990. Ku-tai wen-shih ming-chu hsiian-i ts’ung-shu. Lo, Kuo-wei m m m , ed. Liu Hsiao-piao chi chiao-chu Shanghai: Shang-hai Ku-chi, 1988. Yang, Mu-chih tfktylTZ. and Hu Yu-ming SUSHIS, eds. Shih-shuo hsin-yii Hangchow: Che-chiang Ku-chi, 1986. Yti, Chia-hsi H II, ed. Shih-shuo hsin-yii chien-shu fUSfc- 2v. Peking: Chung-hua, 1984. Rpt. Taipei: Hua-cheng Shu-chii, 1984; Shanghai: Shang-hai Ku-chi, 1993. Yang Yung’s m m 1973 edition, Hsii Chen-e’s f t * text (1984), and this book are the most useful modem commentaries. Translations Inami, Ritsuko Seisetsu shingo Ch&goku no koten, 14. Takeda, Akira Seisetsu shingo no koten, 21-2.
Tokyo: Kadokawa Shoten, 1988. Kanshd Tokyo: Gakushu Kenkyusha, 1983-84. Ch&goku
Studies Chang, Chen-te 3S1S®, et al. Shih-shuo hsin-yU yii-yen yen-chiu Chengtu: Pa-Shu Shu-she, 1995. Chang, Pei-pei “Shih-shuo hsin-yii pieh-chieh-jung-chih p’ien” 0 . Wen-shih-che hsiieh-pao 37 (1989): 99-122. __ . “Shih-shuo hsin-yti pieh-chieh-jen-tan p’ien” Wen-shih-che hsiiehpao 38 (1990): 17-45. Chang, Yung-hao §S;5. “Ssu-k’ung T’u Erh-shih-ssu Shih-p’in chen-wei pien tsung-shu” Fu-tan hsiieh-pao 1996.2 (1996): 32-37. Wang, Jun-hua Ssu-k’ung T u hsin-lun Taipei: Tung-ta T’u-shu Kung-ssu, 1989. Ssu-ma Ch’eng-chen
(647-735)
Studies Engelhardt, Ute. Die klassisches Tradition der Qi-Obungen (Qigong), eine Darstellung anhangend des Tang-zeitlichen Textes Tuqi jingyi lun’ von Sima Chengzfren Stuttgart: Franz Steiner Verlag, 1987. Miinchener ostasiatische Studien, v. 44. Translation and study of a Taoist text, prefaced by a study of Ssu-ma Ch’eng-chen’s life and the sources. Kohn, Livia. “Seven Steps to the Tao: Ssu-ma Ch’eng-chen’s Tso-wang-lunMS 36 (1985). Translation and study on a specific process of meditation explained in the Tso-wang-lun. __ . Seven Steps to the Tao: Sima Chengrften’s Zuowanglun. St. Augustin/Nettetal: Monumenta Serica, 1987. Monumenta Serica Monograph, 20.
Ssu-ma Ch’ien W|J |jg (ca. 145-ca. 85 B.C.) Studies Chang, Ch’iang §S3i. Ssu-ma Ch’ien yii tsung-chiao shen-hua Sian: Shan-hsi Jen-min Chiao-yii, 1995. Ssu-ma Ch’ien yii hua-hsia wen-hua ts’ung-shu. Chang, Ta-k’o SHAWf. Ssu-ma Ch’ien i-chiayen Sian: Shan-hsiJen-min Chiao-yii, 1995. Ssu-ma Ch’ien yii hua-hsia wen-hua ts’ung-shu. __ . Ssu-ma Ch’ien p ’ing-chuan Nanking: Nan-ching Ta-hsiieh, 1994. Chang, Wei-yiieh 3li(£jR. Ssu-ma Ch’ien yii Shih-chi hsin-t’an Taipei: Sung-kao Shu-she, 1985. Ch’en, K’o-ch’ing and Shih Ting SfeT, eds. Ssu-ma Ch’ien yen-chiu hsin-lun I5l|j8IS5ff Chengchow: Ho-nanjen-min, 1982.
Chi, Ch’un p j# . Ssu-ma Ch’im nien-p’u hsin-pien Sian: San-Ch’in, 1992. Chou, Ching MM- Ssu-ma Ch’ien Shih-chi yii tang-an SlIiMS&iBfiMtt^. Peking: Tang-an, 1986. Chou, Hsien-min Uti^fcjs;. Ssu-ma Ch’ien te shih-chuan wen-hsiieh shih-chieh ^1 tft# . Taipei: Wen-chin, 1995. Wen-shih-che ta-hsi, 93. Chou, Hu-lin Ml Ssu-ma Ch’im yii ch’i shih-hsiieh Taipei: Wen-shih-che, 1987. Appends a lengthy bibliography. Chou, I-p’ing j i — Ssu-ma Ch’im shih-hsiieh p ’i-p’ing chi ch’i li-lun li. Shanghai: Hua-tung Shih-fan Ta-hsiieh, 1989. Durrant, Stephen. The Cloudy Mirror: Tension and Conflict in the Writing o fSima Qian. Albany: State University of New York Press, 1995. __ . “Redeeming Sima Qian.” CRI4.2 (Fall 1997): 307-313. __ . “Self as the Intersection of Traditions: The Autobiographical Writings of Ssu-ma Ch’ien.” JAOS 106 (1986): 33-40. __ . “Ssu-ma Ch’ien’s Conception of Tso chuan."JAOS 112 (1992): 295-301. Fan, Wen-fang Ssu-ma Ch’im te ch’uang-tso i-chihyii hsieh-tso chi-ch’iao §JI§j8fS*Jfl!Jf£ Taipei: Wen-shih-che Ch’u-pan-she, 1987. Hayashida, Shinnosuke EH .Shiba Sen: kishi kaisei o kisu Tokyo: Shueisha, 1984; 1991. Ch&goku no hito to shisd, 6. Hsiao, Li MW- Ssu-ma Ch’im p ’ing-chuan nlMISfFfll. Changchun: Chi-lin Wen-shih, 1986. Hsii, Ch’ien-fu ed. Ssu-ma Ch’ien ch’uan-shuo Peking: Wen-hua I-shu, 1987. Hsii, Ling-yiin IfrWtWc. Ssu-ma Ch’ien p ’ing-chuan RlUjfiiffll. Nanning: Kuang-hsi Chiao-yii, 1994. Hsii, Hsing-hai ed. Ssu-ma Ch’ien yii Shih-chi lun-chi SJMSIfjfeiBilt#!. Sian: Shan-hsi Jen-min Chiao-yii, 1995. __ , ed. Ssu-ma Ch’im yii Shih-chiym-chiu lun-chu chuan-t’i so-yin Sian: Shan-hsijen-min Chiao-yii, 1995. Huang, Hsin-ya H iflE . Ssu-ma Ch’im p ’ing-chuan Peking: Kuang-mingJih-pao Ch’u-pan-she, 1991. It6, Tokuo Shikijippyo ni mini Shiba Sm no rekishikan ifetL Tokyo: Hirakawa Shuppansha, 1994. Kobayashi, Haruki “Shiba Sen ni okeru Shiki chojutsu no ddki no tsuite-iSftt&t kenkyu josetsu” T ilB j fT*8BJ fijtifeffiK. Shikan 127 (1992). Li, Shao-yung Ssu-ma Ch’ien chuan-chi wen-hsiieh lun-kao Chungking: Ch’ung-Ch’ing Ch’u-pan-she, 1987. Liu, Kuang-i mJtWi,. Ssu-ma Chimyii Lao-Chuang ssu-hsiang Taipei: T’aiwan Shang-wu, 1992. Liu, Nai-ho §!l7Irftl, ed. Ssu-ma Ch’im ho Shih-chi Peking: Pei-ching Ch’u-panshe, 1987. Lu, Yung-p’in H^kop. Ssu-ma Ch’im ym-chiu nlUjS^f^g. Kiangsu:Jen-min, 1983. Murayama, Makoto Mill?-. Shiba Sen Shiki rekishi kikd §!S3IStfB M i^B ff. Tokyo: Shobunsha, 1995. Nieh, Shih-ch’iao Ssu-ma Ch’im lun-kao Peking: Pei-ching Shih-fan Ta-hsiieh, 1987. Pankenier, David. “‘The Scholar’s Frustration’ Reconsidered: Melancholia or Credo?”.//IOS 110 (1990): 434-459. Shih, Ting MT- Ssu-ma Ch’im hsing-nim hsin-k’ao W J M S i a n : Shan-hsijen-min Chiao-yii, 1995. Ssu-ma Ch’im yii hua-hsia wen-hua ts’ung-shu.
Ssu-ma Hsiang-ju
(179-117 B.C.)
Editions and Rtferences Chin, Kuo-yung iJzlSzk, comm, and ed. Ssu-ma Hsiang-ju chi chiao-chu Shanghai: Shang-hai Ku-chi, 1993. Useful preface (1986) followed by annotated versions of six Jit and eight other writings attributed to Ssu-ma Hsiang-ju; lines from lei-shu cited from lost works and some biographical material are appended. Hsii, Ch’ao et al., comms. Chia I Ssu-ma Hsiang-ju wen SitnJ*S$@#n;5fc. Taipei: Chin-hsiu, 1993. Translations Fei, Chen-kangfcigffl and Ch’iu Chung-ch’ien trans. and comms. Ssu-ma Hsiang-ju wen hsiian-i Chengtu: Pa-Shu Shu-she, 1991. Studies Idema, W. L. “The Story of Ssu-ma Hsiang-ju and Cho Wen-chiin in Vernacular Literature of the Yiian and Early Ming Dynasties.” TP 70 (1984): 60-109. Shu, Ching-nan “Kuan-yii Ssu-ma Hsiang-ju yu Liang nien-tai yii sheng-nien” BSM1 Wen-hsueh i-ch’an 1984.3: 105-107.
Su Ch’e m m (1039-1112) Editions and Rtferences Ch’en, Hung-t’ien and Kao Hsiu-fang eds. Su Ch’e chi 4v. Peking: Chung-hua, 1990. Chung-kuo ku-tien wen-hsiieh chi-pen ts’ung-shu. Contains chronological tables, prefaces, a bibliography and an index. Ch’Uan Sung shih 15:849-873.9814-10164. Ch’Uan Sung wen, 46:2037-2060.357-768 and 47:2061-2106.1-684. Koten Kenkyukai ed. So Shoku Tdba shu Tokyo: Kyfiko Shoin, 1991. Shen, Hui-yiieh ed. Su HsUn, Su Ch’e san-wen hsUan-chi Shanghai: Shang-hai Ku-chi, 1997. Tseng, Tsao-chuang US#!: and Ma Te-fu mm, eds. Luan-ch’eng chi wu-shih chuan, Hou chi erh-ssu chuan, San-chi shih chUan, Ying-chao chi shih-erh chUan £8:$c!£3I+# * EH# ’ — # • 3v. Shanghai: Shang-hai Ku-chi, 1987. Appends prefaces, a nien-piao, and other useful information. Wang, Pin ed. “Su Ch’e chiian” In T ’ang Sungpa-ta-chia ming-pien shang-hsi yU i-chu Ctung-chijih-pao 1997. Yii, Tsung-hsien ed. Lung-ch’uan lueh-chih f l J11 10 chuan. Bound together with Lung-ch’uanpieh-chih HJII$!);£• 2 chUan Peking: Chung-hua, 1982. Translations Strassberg, Inscribed Landscapes, pp. 195-198. Studies Liu, Shang-jung “Su Ch’e i-chu chi-k’ao” (1984): 111-5. Tseng, Tsao-chuang Su Ch’e nien-p’u kuo ku-tai tso-chia yen-chiu ts’ung-shu.
Wen-hsUeh i-ch’an 1984.3
Sian: Shan-hsiJen-min, 1986. Chung-
Su Hsiin j&fa (1009-1066) Editions and References Chia-yu chi chien-chu ISffilftilQ:. Shanghai: Shang-hai Ku-chi, 1993. Chung-kuo ku-tien wen-hsiieh ts’ung-shu. Ch’Uan Sung shih 7:351-352.4358-4374. Ch’tian Sung wen, 22:918-927.2-183. Shen, Hui-yiieh ed. Su Hsiin, Su Ch’e san-wen hstian-chi Shanghai: Shang-hai Ku-chi, 1997. Wang, Pin 3: #2, ed. “Su Hsiin chiian” In T’ang Sung pa-ta-chia ming-pien shang-hsi yii i-chu ching-Mjih-pao 1997. Studies Chin, Kuo-yung Su Hsiin Peking: Chung-hua, 1984. Chung-kuo wen-hsiieh shih chih-shih ts’ung-shu. Hatch, George. “Su Hsiin’s Pragmatic Statecraft.” In Ordering the World. Conrad Schirokauer and Robert P. Hymes, eds. Berkeley: University of California Press, 1993, pp. 59-75. Hsieh, Wu-hsiung it® ! !. Su Hsiin yen-lun chi ch’i wen-hsiieh chih yen-chiu Taipei: Wen-shih-che, 1981. Wen-shih-che-hsiieh chi-ch’eng, 55. Kondo, Kazunari ifi H— “Ch6 Hohei ‘Bun An sensei bohyo’ to benkan ron” ^ « i « j t m m . Waseda Daigaku Daigakuin Bungaku KenkyUka kiyd-Tetsugaku Shigaku-hen 39 (1994): 137-150. Tseng, Tsao-chuang Su Hsiin p ’ing-chuan Hcfltjfpfll. Chengtu: Ssu-ch’uan Jen-min, 1983.
Su Shih
(1037-1101)
Editions and References Ch’eng, Po-an Su Tung-p’o min-su shih chieh Peking: Chung-kuo Shu-chi, 1997. Chinese Department, Szechwan University, ed. Su Shih tzu-liao hui-pien • 5v. Peking: Chung-hua, 1994. Chiu, Yung-ming et a l, eds. Tung-p’o tz’u so-yin Shanghai: Hua-tung Shih-fan Ta-hsiieh, 1994. Chou, Hui-chen Su Shih wen-hsiian chu Taiyuan: Shan-hsi Chiao-yii, 1990 Chu, Ch’uan-yii ed. Su Shih chuan-chi tzu-liao 22v. Taipei: T’ien-i, 1985. Ch’uan Sung shih 14:784-832.9084-9661. Ch’tian Sung wen, 42:1849-1873.458-1042; 43:1874-1922.1-971; 44:1923-1971.1-938; and 45:1972-2004.1-712. Fan, Hui-chiin 1 6 # ^ and Chu I-hui eds. Su Shih Hai-nan shih-wen hstian-chu WfMM Shanghai: Shang-hai Ku-chi, 1990. Hua-tung Shih-fan Ta-hsiieh Ku-chi Yen-chiu So ed. and comm. Tung-p’o chih-lin ^ 5 chiian. Shanghai: Hua-tung Shih-fan Ta-hsiieh, 1983. Bound together with Ch’iu-chihpi-chi Hsiao, P’ing-tung MMM, ed. Su Tung-p’o pi-chi Changsha: Hu-nan Wen-i, 1991. Koten Kenkyukai ed. So Shoku Tdba shti Tokyo: Kyilko Shoin,
mm.
1991. Kuan, San f | —, ed. Tung-p’o shih . Changsha: Yiieh-lu, 1992. K’ung, Fan-li ed. Su Shih wen-chi 6v. Peking: Chung-hua, 1986. Li, Fu-shun ed. Su Shih lun shu-hua shih-liao Shanghai: Shang-hai Jen-min Mei-shu, 1988. Ling-nan Hsiieh-yiian #1^!;, ed. Su tz’u so-yin Canton: Iing-nan Hsiieh-yiian, 1992. Liu, Nai-ch’ailg $\7bBk and Kao Hung-k’uei i§5$$H, eds. Su Shih san-wen hsiian-chi jHlji. Shanghai: Shang-hai Ku-chi, 1997. __ and Ts’ui Hai-cheng eds. and comms. Tung-p’o tz’u Hangchow: Che-chiang Ku-chi, 1992. Lung, Mu-shun and Chu Tsu-mou comms. Tung-p’o yueh-ju chien-chiang shu Taipei: Kuang-wen Shu-chii, 1972. Shih, Sheng-huai and T’ang Ling-ling eds. Su Shih wen-hsUan HtfcSCjH. Shanghai: Shang-hai Ku-chi, 1989. __ . Tung-p’o yiieh-ju pien-nien chien-chu Wuchang: Hua-chung Shih-fan Ta-hsiieh, 1990. Su Tung-p’o ch’i i a n - c h i 10v. Peking: Pei-ching Yen-shan, 1997. Ts’ao, Mu-fan and Hsii Yung-nien eds. Tung-p’o hsiian-chiMifeMM- Chengtu: Ssu-ch’uan Jen-min, 1987. Tseng, Tsao-chuang 9H(E$£, et aL, eds. and comms. Su Shih shih-wen-tz’u hsiian-i jHli. Chengtu: Pa-Shu Shu-she, 1990. Rpt. Taipei: Chin-hsiu, 1993. Wang, Shui-chao 3:^83. S u Shih hsiian-chi Wl&MM- Shanghai: Shang-hai Ku-chi, 1984. Excellent preface, commentary to about 200 poems and 20 prose pieces; nien-p’u appended. __ . Su Shih lun-kao Taipei: Wan-chiian-lou T’u-shu Kung-ssu, 1994. __ and Wang I-yiian lE.'MM., comms. Su Shih shih-tz’u hsiian-chu Shanghai: Shang-hai Ku-chi, 1990. Wang, Sung-ling ed. Tung-p’o chih-lin 5 chiian Peking: Chung-hua, 1981. Wang, Wen-kao 5 * ® , (1764-?) comp, and K’ung Fan-li JL/L#, coU. Su Shih shih-chi UM, f#£i. 8v. Peking: Chung-hua, 1982,1987. Wu, Lu-shan £t!S[l|, et aL, eds. Su Shih shih-hsiian Tientsin: Pai-hua Wen-i, 1982. Yen, Chung-ch’i Su Tung-p’o i-shih hui-pien m m m . changsh a: Yiieh-lu Shu-she, 1984. Translations Landau, Beyond .Storing, pp. 108-135. Ogawa, Tamaki /MlIJft® and Yamamoto Kazuyoshi So Toba shiMM^LM. Tokyo: Asahi Shinbunsha, 1972. __ and Yamamoto Kazuyoshi so shishu 5v. Tokyo: Chikuma Shobd, 1984-1990. Only firve of the thirteen planned volumes of this careful translation were completed before Professor Ogawa passed away. Roy, Claude. L ’ami qui venait de Van mil:Su Dongpo 1037-1101. Paris: Gallimard, 1994. Simon, Rainald, trans. Die friihen Lieder des Su Dong-po. Frankfurt am Main: Peter Lang, 1985. An extended introduction followed by translations of about 75 poems from the years 1071-1077. Strassberg, Inscribed Landscapes, pp. 183-194. Toyofuku, Kenji SMStt—• So Toba shiwa shu Tokyo: H6yu Shoten, 1994. Watson, Burton. Selected Poems ofSu Tung-p’o. Port Townsend, Washington: Copper Canyon Press, 1994. Translations of 112 poems and a 12-page Introduction. Obverse of the
ma
title page reads “Many of these poems originally appeared in Sung Tung-p’o: Selections from a Sung Dynasty Poet, Columbia University Press, 1965. Studies Chang, Fu-ch’ing Su Shih shih-tz’u ming-p’ien hsiang-hsi Peking: Pei-ching Shih-fan Ta-hsiieh, 1992. Cheang, Alice Wen-chuen. “Poetry, Politics, Philosophy: Su Shih as the Man of the Eastern Slope.” IffA S 53 (1993): 325-87. __ . “The Way and the Self in the Poetry of Su Shih (1037-1101).” Unpublished Ph. D. dissertation, Harvard University, 1991. Chen, Yu-shih. “Su Shih: A Theory of Perception in Art.” In Chen’s Images and Ideas in Chinese Classical Prose: Studies of Four Masters. Stanford: Stanford University Press, 1988, pp. 133-53. Ch’en, Ying-chi WifcWi- “Su Tung-po te cheng-chih sheng-ya yii wen-hsiieh te kuan-hsi” Unpublished Ph.D. dissertation, National Taiwan Normal University, 1989. Chu, Ching-hua Su Shih hsin-lun Tsinan: Ch’i-Lu Shu-she, 1983. _ . Su Shih hsin-p’ingW$£Mffl. Peking: Chung-kuo Wen-hsiieh, 1993. __ . Su Shih lun m i l . Peking: Ching-hua, 1997. Chung, Lai-yin $83)50. Su Shih yii Tao-chia Tao-chiao Taipei: T’ai-wan Hsiieh-sheng Shu-chii, 1990. Egan, Ronald C. “Ou-yang Hsiu and Su Shih on Calligraphy.” IffA S 49.2 (December 1989): 365-419. __ . “Poems on Paintings: Su Shih and Huang T’ing-chien.” IffA S A3 (1983):* 413-451. __ . “Su Shih’s ‘Notes’ as a Historical and Literary Source.” IffA S 50.2 (December 1990): 561-588. __ . Word, Image and Deed in the Life of Su Shi Cambridge: Council on East Asian Studies and the Harvard-Yenching Institute, 1994. Harvard Yenching-Institute Monograph Series, 39. Includes texts of Su Shi’s poems in Chinese with translations in English; appends bibliographical references and an index. Fuller, Michael Anthony. The Road to East Slope: The Development o f Su Shi’s Poetic Voice. Stanford: Stanford University Press, 1990. Grant, Beata. “Buddhism and Taoism in the Poetry of Su Shi (1036-1101).” Unpublished Ph. D. dissertation, Stanford University, 1987. __ . Mount Lu Revisited: Buddhism in the Life and Writings of Su Shih. Honolulu: University of Hawaii Press, 1994. Hawes, Colin. “Su Shi (1037-1101) as Mystical Poet” British Columbia Asian Review 8 (1994-5): 105-116. Hokari, Yoshiaki “So Toba no shi ni mirareru ‘yume’ no go ni tsuite” iL & b t lZ ) rffj Kangaku kenkyu 29 (1991): 17-35. Hsieh, T’ao-fang Su Shih shih yen-chiu Chengtu: Pa-Shu Shu-she, 1987. Huang, Ming-fen Lun Su Shih te wen-i hsin-li kuan li'L'SSS- Foochow: Hai-hsia Wen-i, 1987. I, Jo-fen “Su Shih t’i-hua wen-hsiieh yen-chiu” Unpublished Ph. D. dissertation, National Taiwan University, 1995. Idema, W. L. “Poet versus Minister and Monk: Su Shih on Stage in the Period 1250-1550,” 7P73 (1987): 190-216. Jikusa, Masaaki Toba shu Tokyo: Kyuko Shoin, 1991. Koten kenkyukai sdsho Kanseki no bu, 16. Li, I-ping i7k. Su Tung-p’o hsin-chuan 2v. Taipei: Lien-ching, 1983. Liu, Nai-ch’ang MTbM- Su Shih wen-hsiieh lun-chi . Tsinan: Ch’i-Lu Shu-she,
Liu, Shang-jung M $ ) Su Shih chu-tsopan-pen lun-ts’ung Chengtu: Pa-Shu Shu-she, 1988. Liu, Shih M75- Su Shih tz’u yen-chiu Taipei: Wen-chin, 1992. Ta-lu ti-ch’ii po-shih lun-wen ts’ung-k’an, 22. Murakami, Tetsumi et al So Shoku, Riku Y&mm • m m . Tokyo: Kadokawa Shoten 1989. Kansho Chugoku no koten, 21. Ogawa, Tamaki rb)\\M m - So ShokuHfcfet. 2v. Tokyo: Iwanami, 1962. Pease, Jonathan. “Contour Plowing on East Slope: A New Reading of Su Shi,”JAOS 112 (1992): 470-7. P’u, Yung-huan Su Shih ch’an-shihyen-chiu Peking: Chung-kuo She-hui K’o-hsueh, 1995. Reubi, Francois C. “Astronomie et poesie chinoise, a propos de la Premiere Ode de la Falaise Rouge de Su Dongpo,” AS 46 (1992): 640-52. Roy, Claude. L ’ami qui venaitdl’an m il Su Dongpo 1037-1101. Paris: Gallimard, 1994. Sargent, Stuart H. “City of Lotuses,”JSY S 24 (1994): 165-204. An extensive close reading of Su’s “Fu-jung cheng shih” __ . “Colophons in Countermotion: Poems by Su Shih and Huang T’ing-chien on Painting,” IffA S 52.1 (June 1992): 263-302. Shen, K’uo (1029-1093) and Ch’eng Yung-p’ei ed. Su Shih yang-sheng liang-fang Peking: T’uan-chieh, 1994. Su Shih Yen-chiu Hsiieh-hui ed. Chi-nien Su Shih pien-tan pa-pai chiu-shih chou-nien hsiieh-shu t’ao-lun chi A W C h e n g t u : Ssuch’uan Ta-hsiieh, 1991. __ . Ch’iian-kuo ti-pa-tz’u Su Shih yen-t’ao hui lun-wen chi Chengtu: Ssu-ch’uan Ta-hsiieh, 1997. __ . Tung-p’o shih lun-ts‘ungM^.WWsM. Chengtu: Ssu-ch’uanJen-min, 1983. __ . Tung-p’o tz’u lun-ts’ung Chengtu: Ssu-ch’uanJen-min, 1982. __ . Tung-p’o wen lun-ts’ungW ^XWsM .. 2v. Chengtu: Ssu-ch’uan Wen-i, 1986. __ . Tung-p’o yen-chiu lun-ts’ungj^M M % ^H .. Chengtu: Ssu-ch’uan Wen-i, 1986. Takahata, Tsunenobu jftJfflSls. Tob daibatsu-shogei hen Tokyo: Mokujisha, 1989. Tomlonovic, Kathleen M. “Poetry of Exile and Return: A Study of Su Shi (1037-1101).” Unpublished Ph. D. dissertation, University of Washington, 1989. Toyofuku, Kenji So Tdba bungei hyoronshu Tokyo: Mokujisha, 1989. Tseng, Tsao-chuang Su Shih p ’ing-chuan . Rev. ed. Chengtu: Ssu-ch’uan Jen-min, 1984. Ts’ung, Chien H 3I and K’o Ta-k’o MAIR. Su Shih chi ch’i tso-p’in ®M&R.KfFi§n. Changchun: Chi-linJen-min, 1984. Wang, Hung 3EW. Su Shih shih-ko yen-chiuW ^M W M % . Peking: Ch’ao-hua, 1993. __ . Su Tung-p’o yen-chiu Kweilin: Kuang-hsi Shih-fan Ta-hsiieh, 1997. Wang, Ssu-yii ed. Su Shih tz’u shang-hsi Chengtu: Pa-Shu Shu-she, 1987. Wu, Hsiieh-t’ao Su Shih k ’ao lun-kao iif$5. Huhehot: Nei Meng-ku Chiao-yii, 1994. __ . “Su tz’u pien-nien men-cheng-Tung-p’oyiieh-fupien-nien chien-chu hsien-i chih i” MM M Wen shih40 (1994): 195-204. Yang, Vincent. Nature and Selj: A Study ojthe Poetry ojSu Dongpo with Comparisons to the Poetry o f William Wordsworth. Frankfurt am Main and New York: Peter Lang, 1989. Yen, Chung-ch’i Su Shih lun wen-i Peking: Pei-ching Ch’u-pan-she,
__ . Su Tung-p’o i-shih hui-pien Yii, Feng TUB,. Wen-t’ungSu Shih Su Shun-ch’in
Changsha: Yiieh-lu Shu-she, 1984. Shanghai: Shang-hai Jen-min Mei-shu, 1988.
(1008-1048)
Editions and References Fu, P’ing-hsiang and Hu Wen-t’ao eds. Su Shun-ch’in chipien-nien chiao-chu M Chengtu: Pa-Shu Shu-she, 1991. Shen, Wen-cho fcStW -, ed. Su Shun-ch’in chiMffi&M - 16 chiian. Peking: Chung-hua, 1961. Translations Strassberg, Inscribed Landscapes, pp. 169-172.
Su P in g M m (670-727) Studies Ch’en, Chun $&$}• “Su T’ing nien-p’u (i-liu)” hsiieh-pao 1991.1, 4; 1992.4; 1993.2, 4; 1994.1. __ . “Su T’ing nien-p’u ting-pu (i, erh)” hsiieh-pao 1994.2, 3.
Sui Tang yen-i
(—- f \ ) . Yen-ch’eng Shih-chuan (—‘ * —) . Yen-ch’eng Shih-chuan
(Romance of the Sui and the Tang)
Editions and References Hsii, Wen-ch’ang comm. Sui Tang yen-i gSHfyjilti. 3v. Shanghai:. Shang-hai Ku-chi, 1990. Su, Pi I f if, et al., eds. Sui Tang yen-i fi&JffjftH. 10 chiian. Chengtu: Pa-Shu Shu-she, 1993.
Sung Chih-wen
(d. 712)
Editions and References Luan, Kuei-ming et al., eds. Ch’uan T’ang shih so-yin: Shen Ch’Uan-ch’i/Sung Chih-wen chiian Peking: Hsien-tai, 1995. Matsuoka, Eiji So Shimon shi sakuin 5|?/£.|r3iv y 'll. Tokyo: T6ky6 Daigaku, 1985. Studies Chao, Min BSS. “Sung Chih-wen ‘tzu-ssu’ Ch’in-chou k’ao” Hsiieh-shu lun-t’an 1982.6. Takagi, Shigetoshi “So Shimon ron” Hokkaido Kydiku Daigaku kiyo, Jimbun kagaku 37 (1-2 1988).
Sung Lien 5*=$* (1310-1381) Studies Cleaves, Francis Woodman. “Additional Data on Sung Lien, Wang Wei, and Chao Hsiin.”
Appended to “The ‘Postscript to the Table of Contents of the Yiian shih.’”JS Y S 23 (1993): 13-18 (1-18). Translations Strassberg, Inscribed Landscapes, pp. 269-278.
Sung-shih ch’ao
(Jottings from Sung D ynasty Poetry)
Editions and References Li, Hsiian-kung ed. Sung-shih ch’ao ch’u-chi 1986.
Sung-shih chi-shih
(Recorded Occasions in Sung Poetry)
Editions and References K’ung, Fan-li Sung-shih chi-shih hsU-pu 1987. Ch’iian Sung-shih yen-chiu tzu-liao ts’ung-k’an.
Ta-ku
3v. Peking: Chung-hua,
2v. Peking: Pei-ching Ta-hsiieh,
(drum ballad)
Editions and References Hu, Meng-hsiang and Wang Chung-i eds. Sun Shu-yUn ching-yun ta-ku yen-ch’ang chi Peking: Chung-kuo Min-chien Wen-i, 1989. Tung-fang shuo-ch’ang i-shu hsi-lieh ts’ung-shu. Studies Chao, Ching-shen Ta-ku yen-chiu Changsha: Shang-wu Yin-shu-kuan, 1936. Pai-k’o hsiao ts’ung-shu. Rev. ed. Shanghai: Shang-hai Shu-tien, 1991. Min-kuo ts’ung-shu.
Ta-li shih-ts’ai tzu
(Ten Talents of the Ta-li Period)
Editions and References Chiao, Wen-pin MJCffi, et a l, eds. Ta-li shih-ts’a i tsu shih-hsiian A H - f - T f * S i a n : Shan-shiJen-min, 1988. Studies Chu, Chimg-chiin
“Ta-li shih-ts’ai-tzu te ch’uang-tso huo-tung t’an-so” Wen-hsUeh i-ch’an 4 (1983): 58-63. Shih, I-tui and Chiang Yin MM- Chung-kuo shih-hsiieh Nanking: Nan-ching Ta-hsiieh, 1997. First volume of a projected history covers the Ta-li period. Tai-ko-tH £ !H fi (cabinet style) Studies Ch’ien, Chin-sung flSHStS Ming-tai wen-hsUeh p ’i-p’ing yen-chiu
Taipei:
Hsiieh-sheng, 1989. Argues that l i Tung-yang was the culmination of the t ’ai-ko-t’i rather than its executioner. Tai-pHng kuang-chi ± ¥1 11 0 (Extensive Gleanings of the Reign of Great Tranquility) Editions and References Wang, Hsui-meiiE5f#& etal.,eds. Tai-pHng kuang-chi io-?inA 5? lls E ^ 3 !• Peking: Chung-hua, 199’/. Keyedto^the 1986 Chung-hua edition. Wang, San-ytian 3EH7C, et al, eds. Tai-p’ing kuang-chi (chin-chu pen) ( ^ Q :# ) . Peking: Chung-kuo Kuang-po, 1997. Studies Baluth, Birthe. Altchinesische Geschichten fiber Fuchsddmonen, Kommentierte berset&ing der Kapitel 447 bis 455 des Taiping Guangji Frankfurt and New York: Lahg, 1996. Chang, Kuo-feng “Shih-lun Tai-p’ing kuang-chi te pan-pen yen-pien” Wen-hsien 1994.4:3-17. Hammond, Charles Edward. “T’ang Stories in the Tai-p’ing kuang-chi.”Unpublished Ph. D. dissertation, Columbia University, 1987. Kirkland, Russell. “A World in Balance: Holistic Synthesis in the T’ai-p’ing Kuang-Chi.” JS Y S 23 (1993): 43-70. A good survey of scholarship which concludes the work was designed to promote the wholeness of life, the strange as well as the mundane.
T’ai-pingyii-lan
(Imperial Digest of the Tai-ping Reign Period)
Editions and References Tai-p’ingyii-lan Taipei: T’uan-chieh, 1994. Mi-sku chi-di’ung.
Tan-tz’u
(plucking rhymes)
Studies Bender, Mark. “Tan-ci, Wen-ci, Chang-ci.” CLEARS (1984): 121-124. Hu, Hsiao-chen “Yiieh-tu fan-ying yti t’an-tz’u hsiao-shuo te chuang-tso—Ch’ing-tai nii-hsing hsii-shih wen-hsiieh ch’uan-t’ung chien-li chih i yii” KI3f WIOf' F— Is. Chung-kuo wen-che ym-chiu chi-k’an 8 (March 1996): 305-364. Lien, P’o Tan-tzjuyin-yiieh ch’u-t’anW ffiH M fflM - Shanghai: Shang-hai Wen-i, 1979. Sung, Marina H. aTan-tz’u and t’an-tz’u Narratives.” TP 79 (1993): 1-22. Tsao, Pen-yeh. The Music of Su-chou Tan-tz’u. ’ Hong Kong: The Chinese University Press, 1988.
T an Yuan-ch’un WtC# (1585-1637) Editions and References Ching-lingp’ai chung-hsing Tan Yuan-ch’un hsilan-chi Wu T’iao-kimg et al, comms. and eds. Wuhan: Hu-pei Jen-min, 1993. Tanshi shikiWT'v&M- 4v. Tokyo: Kokyu Shuho, 1990. Photolithographic reproduction of an edition held in Japan.
Tang chih-yen / S M
(Picked-up Words of Tang)
Studies Moore, Oliver. “The Literary Arena: Social and Ceremonial Aspects of Chinese State Examination in the Tang chih-yen by Wang Ting-pao (AD 870-940).” Unpublished Ph. D. dissertation, Pembroke College, Cambridge University, 1992.
T ang Hsien-tsu SfUgffl (1550-1617) Editions and Rtferences Ch’ien Nan-yang ed. Tang Hsien-tsu hsi-ch’Uchi 2v. Shanghai: Shang-hai Ku-chi, 1982. Chung-kuo ku-tien wen-hsueh ts’ung-shu. Hsii, Fu-ming#&§§. Mu-tan Ting yen-chiu Uu-liao k ’ao-shih Shanghai: Shang-hai Ku-chi, 1987. Hsii, Shuo-fang and Yang Hsiao-mei comms. and eds. Mu-tan Ting Peking: Jen-min Wen-hsiieh, 1978. Chung-kuo ku-tien wen-hstieh ts’ung-shu. Mao, Hsiao-t’ung ed. Tang Hsien-tsu yen-chiu tzu-liao hui-pien Shanghai: Shang-hai Ku-chi, 1986. Includes records of lost works, biographical information, comments on 159 pieces of prose and verse and 400 dramas. Studies Birch, Cyril. “A Comparative View of Dramatic Romance: The Winter’s Tale and The Peony Pavilion.” In Roger T. Ames, et al. eds. Interpreting Culture through Translation Hong Kong: The Chinese University Press, 1991, pp. 59-77. Cheng, P’ei-k’ai t ’ang Hsien-tsu yii Wan-Ming wen-hua Taipei: Yiin-ch’en Wen-hua, 1995. Yiin-ch’en ts’ung-k’an, 61. Chiang-hsi Sheng Wen-hsiieh I-shu Yen-chiu So ed. Tang Hsien-tsu yen-chiu lun-wen chi ■Peking: Chung-kuo Hsi-chii, 1984. More than 30 papers from a 1982 conference; appends a “T’ang Hsien-tsu yen-chiu tzu-liao
Chou, Yii-te /KlWtll- Tang Hsien-tsu lun-kao Peking: Wen-hua I-shu, 1991. Chu, Hsiieh-hui and Chi Hsiao-yen ^ 5 1 ^ . Tung-fang hsi-chii i-shu chU-ehiang T ’ang Hsien-tsu Nanchang: Chiang-hsi Jen-min, 1986. Appends a bibliography and chronological biography. Hsii, Fu-ming Tang Hsien-tsu yii Mu-tan Ting Shanghai: Shang-hai Ku-chi, 1993. Chung-kuo ku-tien wen-hsiieh chi-pen chih-shih ts’ung-shu. Hsii, Shuo-fang Lun Tang Hsien-tsu chi ch’i-t’a i t ISIS. Shanghai: Shang-hai Ku-chi, 1983. A collection of 28 articles by Hsii published between 1954 and 1981. __ . Tang Hsien-tsu p ’ing-chuan Nanking: Nan-ching Ta-hsiieh, 1993. Chung-kuo ssu-hsiang chia p’ing-chuan ts’ung-shu, 131. Appends a nien-piao, an index and a bibliography. Huang, Chih-kang ft^EfSU. T ’ang Hsien-tsu pien-nien p ’ing-chuan Peking: Chung-kuo Hsi-chii, 1992. Huang, Wen-hsi and Wu Feng-ch’u Tang Hsien-tsu Peking: Chung-kuo Hsi-chii, 1986. Hsi-chii chia chuan lun ts’ung-shu. Kung, Chtmg-mo JU tH , etaL Tang Hsien-tsu chuan MStfflfll. Nanchang: Chiang-hsiJen-min, 1986. A biography organized according to units in T’ang’s hometown. Swatek, Catherine. “Plum and Portrait: Feng Meng-lung’s Revision of The Peony Pavilion” AM, TS6.1 (1993): 127-60. Wei, Hua. “Dreams in Tang Xianzu’s Plays.” Chinoperl 16 (1992-93): 145-64.
__ . “The Search for Great Harmony: A Study of Tang Xianzu’s Dramatic Art.” Unpublished Ph. D. dissertation, University of California, Berkeley, 1991. Yung, Sai-shing. “A Critical Study of ‘Han-tan chi.” Unpublished Ph. D. dissertation, Princeton University, 1992. Zeitlin, Judith T. “Shared Dreams: The Story of the Three Wives’ Commentary on The Peony Pavilion.”W A S54 (1994): 127-179. T’ang-shih chi-shih
(Recorded Occasions in T’ang Poetry)
Editions and References Wang, Chung-yung JE'f'flS, ed. T’ang-shih chi-shih chiao-chien 81 chiian. 2 v. Chengtu: Pa-Shu Shu-she, 1989. The text is the 1234 edition from Wang Hsi 3E?8; includes an index.
T’ang-shih san-pai-shou
H lf (Three Hundred Poems of the Pang dynasty)
Editions and References Fukazawa, Kazuyuki •#. Toshi sanbyakushu flUfHITtar. Tokyo: Kadokawa Shoten 1989. Kansho Chugoku no koten, 19. T’ang-shih san-pai-shou chu-shu Chang Hsieh M M , ed. Hofei: An-hui Wen-i, 1983. Reprint of Chang Hsieh’s 1834 edition, further edited by Wu Shao-lieh ^|!§ $\\ and Chou I T ’ang-shih san-pai-shou hsin-piaj)if $f$I- Ma Mao-yiian H ^7C and Chao Ch’ang-p’ing comms. Changsha: Yiieh-lu Shu-she, 1992. T’ang-shih san-pai-shou p ’ing-chu Wang Ch’i-hsing iEifcJSJ and Mao Chihchung eds. Hupei: Hu-pei Jen-min, 1984. Contains the original preface by Sun Chu W fc (1711-1778). Translations T’ang-shih san-pai-shou ch’iian-i Sha Ling-na trans., Ho Nien comm, and Ch’en Ching-jung ed. Kweiyang: Kuei-chou Jen-min, 1989. Chung-kuo li-tai ming-chu ch’iian-i ts’ung-shu. Contains the original preface by Sun
chu m
Studies Tabei, Fumio Toshi sanbyaku shu shokai Shoten, 1980; 1988.
T’ang ts’ai-tzu chuan
2v. Tokyo: Taishukan
(Biographies of Pang Geniuses)
Editions and References Chou, Pen-ch’un ed. T ’ang ts’ai-tzu chuan chiao-cheng ■ ? Nanking: Chiangsu Ku-chi, 1987. Includes an index. Fu, Hsuan-ts’ung ed. T’ang ts’ai-tzu chuan chiao-chien V. 5. Peking: Chung-hua, 1995. The fifth volume continues the superb annotation of the first four. Sun, Yang-lu ed. T’ang ts’ai-tzu chuan chiao-chu M a Peking: Chung-kuo She-hui K’o-hsiieh, 1991.
Translations Li, Li-p’u m tlM I, ed. T ’ang ts’ai-tzu chuan ch’ttan-i Kweiyang: Kuei-chou Jen-min, 1990, 1997. Chung-kuo li-tai ming-chu ch’iian-i ts’ung-shu.
Tang-wen ts'ui
[ca. 1011)
Translations T ’ang-wen ts’ui hsiian-i Chang Hung-sheng trans. and comm. Chengtu: Pa-Shu Shu-she, 1991. Reprinted in Taiwan as T’ang-wen ts’ui Taipei: Chinhsiu, 1993. Chung-kuo ming-chu hsiian-i ts’ung-shu, 65.
T ang Yin
(1470-1524)
Editions and References To Hakuko shu Hf'fSjEfeJil. 3v. Tokyo: Kokyti Shuho, 1993. Reproduction of a 1612 edition compiled by Shen Ssu }5fc,®and which is held in Japan. T ’ang Po-hu shu-fa hsiian Hsiao Lan Plat, et a l, eds. Shenchiin: Hai-t’ien, 1992. Chung-kuo li-tai shu-fa ming-tso hsi-lieh ts’ung-shu.
Tang Ying
(1682-1755)
Editions and Rtferences T’ang Ying chi 2v. Shenyang: Liao-Shen Shu-she, 1991. Studies Chou, Yii-te ed. Ku-pai-t’ang hsi-ch’ii chi Shanghai: Shang-hai Ku-chi, 1987. A punctuated version of this collection followed by a number of materials for the study of T’ang Ying’s life and writings.
Tao-tsang
(Taoist Canon)
Editions and Rtferences Ch’in-ting Tao-tsang ch’uan-shu tsung-mu tKSEMfSiySM @■Ho Lung-hsiang S f8 i8 , recorder and P’eng Han-jan ed. Chengtu: Pa-Shu Shu-she, 1992. Tsang-wai tao-shu, 24. San-tungfeng-tao liao-chieh Chengtu: Pa-Shu Shu-she, 1992. Tsang-wai tao-shu, 21. Tao-tsang ch’i-kungyao-chi Hung P’i-mo ed. 2v. Shanghai: Shang-hai Shu-tien, 1995. Tao-tsang chi-yao S tlS ftil. P’eng Wen-jui (1731-1803), ed. 25v. Taipei: K’ao-cheng, 1971. Tao-tsang chi-yao mu-lu MlBtftllliil?:. Chiang Yiian-t’ing M tcM (Ch’ing dynasty), ed. Hangchow: Che-chiang Ku-chi, 1989. Tao-tsang chi-yao shu-mu tsung-lu MWcMWS SMMfc- Hu Tao-ching et al, eds. Chengtu: Pa-Shu Shu-she, 1992. Tsang-wai tao-shu, 36. Tao-tsang ching-hua StjBcfflflp?. Hu Tao-ching et aL, eds. 4v. Changsha: Yiieh-lu Shu-she, 1993.
Tao-tsang mu-lu hsiang-chu M W ,S$ks$si. Pai Yiin-chi E=3fl?l (Ming dynasty), comm. 4 chiian. Taipei: Hsin-wen-feng, 1988. Tao-tsang tan-yao i-mingso-yinMMmk=&%t’% 'i\. Huang Chao-hanft^M, ed. Taipei: Tai-wan Hsiieh-sheng Shu-chii, 1989. Tao-chiao yen-chiu ts’ung-shu. Tao-tsang t’i-yaoMMM.W-]en Chi-yii H M M , etal., eds. Peking: Chung-kuo She-hui K’o-hsiieh, 1991. Based on the 1926 edition. Tao-tsang tzu-muyin-te, Fo-tsang tm-muyin-te S'? I # ’ M M ? @31#. Hung Yeh et al, eds. Shanghai: Shang-hai Ku-chi 1986. The Tao-tsang indexes were published in Peking in 1935 and in 1966 in Taipei by Ch’eng-wen Ch’u-pan-she as index no. 25 in the Harvard-Yenching Institute Sinological Index Series. Tao-tsang yao-chi hsiian-k’an MMMWsWftl- H uT ao -ch in g iE W et al., eds. lOv. Shanghai: Shang-hai Ku-chi, 1989. Based on the 1926 edition. Yin Wen-tzu In 2 chiian. Shanghai: Shang-hai Ku-chi, 1989. Tao-tsangyao-chi hsiian-k’an, 5. Based on the 1926 edition. Yiin-chi ch’i-ch’ien m % -1® . In 122 chiian. Shanghai: Shang-hai Ku-chi, 1989. Tao-tsang yao-chi hsiian-k’an, 1. Based on the 1926 edition. Translations Sugimoto, Takushu
trans. and annot. Shin kokuyaku Daizflkyo-Hon ’en hu 2 i f SIR 2. Tokyo: Daizo Shuppan, 1994.
Studies Chu, Yiieh-li. Tao-tsangfen-Ui chieh-t’i Peking: Hua-hsia, 1995. Ch’u, Chi-kao ffiJ&Jp:. Tao-tsang k ’ao-liie/t Shanghai: Shang-hai Ku-chi, 1989. Taotsang yao-chi hsiian-k’an, 10.4. Hu, Fu-ch’en and Fang Kuang-ch’ang Tao-tsang yii Fo-tsang Taipei: Hsin-hua, 1993. Shen-chou wen-hua chi-ch’eng ts’ung-shu.
T ao Ch’ien
(365-427)
Editions and References Kung, Pin R ® , comm. T’ao Yiian-ming chi chiao-chien Shanghai: Shang-hai Ku-chi, 1997. Excellent annotation. Li, Kung-huan Chien-chu Tao Yiian-ming cAi §1 Pff${| ^ . Taipei: Kuo-li Chung-yang T’u-shu-kuan, 1991. Lu, Ch’in-li T’ao Yiian-ming chi Peking: Chung-hua, 1979. Remains the standard critical edition. Meng, Erh-tung Si—# , ed. Tao Yiian-ming chi shih-chu^^M M W Q .. Tsilin: Chi-lin Wen-shih, 1997. Wei, Cheng-chung ed. Tao YUan-ming chi chiao-chu Peking: Wen-chin, 1994. Base editions include Ching-chieh Hsien-sheng chi T’ao Shu (1779-1839), commentator. Wei Huan-hsiin m m m , editor. Peking: Wen-hsiieh Ku-chi K’anhang-she 1956. This is similar to the SPPY edition. SPIK has Li Kung-huan as commentator. Wang Yao 3E^ is another important commentator (of T ’ao YUan-ming chi There is also a recent reprint, Chien-chu Tao Yiian-ming cAi H f t 0il jR• Taipei: Chung-yang T’u-shu-kuan, 1991. This is a reprint of a Southern Sung edition.
Translations Davis and Hightower remain the standards (see Companion v. 1 entry). Jacob, Paul. GEuvres computes de Tao Yuan-ming. Paris: Gallimard, 1990. Carefully annotated versions-arranged in chronological order-following an extensive, interesting introduction. Kuo, Wei-sen et aL Tao YUan-ming chi ch’tian-i P6j$!|E!£Sii£Sg. Kweiyang: Kuei-chou Jen-min, 1992. Matsueda, Shigeo et al. To Emmei zenshu 2v. Tokyo: Iwanami Shoten, 1990. Pohl, Karl-Heinz. Der PfirsichbliitenqueU, Gesammelte Gedichte. Cologne: Diederichs, 1985. Deiderkhs Gelbe Reihe, 58. A complete, lightly annotated translation of the shih and fit following a general introduction. Suzuki, Torad To Emmei shikaiM W ffl^ffi. Tokyo: Heibonsha, 1991. Tan, Shilin [T’an, Shih-lin] The Complete Works of Tao Yuanming. Hong Kong: Joint Publishing, 1992; Taipei: Shu-lin, 1993. A bilingual edition with annotation by a professor atJinan University. Quality to be probed. Wei, Cheng-shen$tjE$. Tao Yiian-m ingchii-chu^M ^^M & .. Taipei: Wen-chin, 1994. Studies Bokenkamp, Stephen R. “The Peach Flower Font and the Grotto Passage.”^ ! 05106 (1986): 65-77. Chan, Wing-ming. “T’ao Ch’ien on life and Death: The Concept of Tzjt-jan in His Poetry.” Unpublished Ph. D. dissertation, University of Wisconsin, 1981. Chang, Kang-i Sun. “T’ao Ch’ien: Defining the Lyric Voice.” In Six Dynasties Poetry. Princeton: Princeton University Press, 1986, pp. 3-46. See also the important review by Donald Holzman in IffAS48 (1988): 244-49. Ch’en, Chiin-shan |®{£|JL|. Tao Yttan-ming^fflfflft. Hanchang: Pai-hua-chou Wen-i, 1994. Ch’en, I-liang Tao Yiian-ming chih jen-p’in yii shih-pin i&. Taipei: Wen-chin, 1993. Ching, Shu-hui MWM- Wei Chin shih-jen yii cheng-chih Taipei: Wen-chin, 1991. Ta-lu ti-ch’Upo-shih lun-wen ts’ung-k’an, 12. This dissertation, done at Szechwan University under Miao Yiieh MM, focuses on Ts’ao Chih, Juan Chi, Hsi K’ang and T’ao Ch’ien. Chung, Yu-min S8{£K. T’ao Yiian-ming lun-chi Changsha: Hu-nan Jen-min, 1982. Frankel, Hans H. Review of The Poetry o f T’ao Ch’ien by James R. Hightower. IffA S 31 (1971): 313-19. Hasegawa, Shigenari T6 Emmei no seishin seikatsu Tokyo: Kyuko Shoin, 1995. Ho, P’ei-hsiung Mffillt. “Ying-i T’ao Yiian-ming chi p’ing-chieh” Shu-mu chi-k’an 19.4(1986): 176-184. Hsieh, Hsien-chiin et al T’ao Yiian-ming shih-wen hsiian-i Chengtu: Pa-Shu Shu-she, 1990. Hsii, I-min ed. T’ao Yuan-min nien-p’u Originally compiled by Wang Chih 3Eff, et (1127-1189). Peking: Chung-hua, 1986. Ikkai, Tomoyoshi — and Iriya Yoshitaka To Emmei, Kanzfin Tokyo: Iwanami Shoten, 1984. ShinshU Ch&goku shijin senshU, 1. Inoue, Kazuyuki —It.. “T6 Emmei shigenshi k6-T6shi no gikoshil ni soku shite” |2 9 fi1 » # -M R 0 K £ ttf£ B P L X . Ch&goku Shibun ronsd 8 (1989): 25-47. Ishikawa, Tadahisa TSW&fK- To Emmei to sono jidai b Tokyo: Kembon
Ito, Naoya
“Goryu sensei den shiron-Kdshi no keisho shiso Y6 Yu no ei” 3S.W9c shibunQ8 (i989): 95-105. Ku, Yiin-i S-ltiS. Tao YUan-ming^fflPM. Harbin: Hei-lung-chiangjen-min, 1983. Kurz, Elisabeth. “Spurensuche-Tao Yuanmings ‘Aufzeichnung vom Pfirsichbliitenquell’ als Klage des skeptischen Visionars.” A S 47.3 (1993): 453-488. Kwong, Charles Yim-tze. “The Rural World of Chinese ‘Farmstead Poetry’ (Tianyuan Shi): How Fax Is It Pastoral?” CLEAR 15 (1993): 57-84. __ . Tao Qian and the Chinese Poetic Tradition, The Quest for Cultural Identity. Ann Arbor: Center for Chinese Studies, University of Michigan, 1994. Michigan Monographs in Chinese Studies, 66. Chapters on the backgrounds to T’ao’s age and Tao’s poetic art. Li, Chen-tung Tao YUan-ming p ’ing-lun Taipei: Tung-ta T’u-shu, 1984. Contains a chronology of T’ao’s works; but the reliability of some of Li’s work has been called into question. Li, Hua m m . Tao YUan-ming hsin-lun #Sif!!|E!8|fnii. Peking: Pei-ching Shih-fan Hsiieh-yiian, 1992. __ , ed. Tao YUan-ming shih-wen shang-hsi chi Chengtu: Pa-Shu Shu-she, 1988. Li, Wen-ch’u m^SCffl- Tao YUan-ming lun-lueh [8i$}|EJ§!§iB§. Canton: Kuang-tung Jen-min, 1986. Liu, Chi-ts’ai and Min Chen-kuei eds. Tao YUan-ming shih-wen i-shih m x t m . Harbin: Hei-lung-chiangjen-min, 1986. Liu, I-sheng ed. and Hsii Wei annot. Tao YUan-ming shih-hsiian Canton: Kuang-tungjen-min, 1984. Lu, Ch’in-li j H a n Wei Liu-ch’ao wen-hsiieh lun-chi Wu Yiin ft, ed. Sian: Shan-hsijen-min, 1984. The second section of this posthumously edited and published work is devoted to T’ao Ch’ien and his poetry. Matsuoka, Eiji “‘To Enmei shu’ hanpon shoshiki-So hon sanshu” Hfcfc/J'ifc-SfcfcHli. Kanbun Kyoshitsu 173,1992. __ . “Zoku ‘To Enmei shu’ hanpon shoshiki-So, Gen ban nishu” W. Wt-%. • TCJSSlHli. Kanbun Kyoshitsu 173,1992. Meng, Mong. “Configuration of a Lyrical World: A Study of T’ao Yiian-ming’s Poetics from a Cultural Perspective.” Unpublished Ph.D. dissertation, Rutgers University, 1990. Mori, Hiroyuki jj&jftffT. “T6 Emmei ‘Tokagen shi heiki’ sono go” Osaka Geijutsu Daigaku Kiyd-Geijutsu 13,1990. Minami, Fumikazu . Shiden ToEmmei-Kaerinan *5 Osaka: Sogensha, 1984. Obi, K6ichi /MISP—. Chugoku no inton shisd-To Emmei no kokoro no kiseki Tokyo: Chtid Koronsha, 1988. Owen, Stephen. “The Selfs Perfect Mirror: Poetry as Autobiography.” In Shuen-fu Lin and Stephen Owen, eds. The Vitality of the Lyric Voice. Princeton: Princeton University Press, 1986, pp. 71-102. Rohrer, Maria. Das Motiv der Wolke in der Dichtung Tao Yuanmings. V. 2. Freiburger Femdstliche Forschungen, Wiesbaden: Harrassowitz, 1992. Shen, Chen-ch’i raSW - Tao Hsieh shih chih pi-chiao Taipei: Hsiieh-sheng, 1985. An introduction followed by chapters comparing their lives and then their works. Sun, Chiin-hsi Tao YUan-ming chi chiao-chu Chengchow: Chung-chou Ku-chi, 1986. T’ang, Man-hsien ed. Tao Yiian-ming chi ch’ien-chu Nanchang: Chiang-
mm*
Teng, An-sheng W izQ i. Tao Yiian-minghsin-t’an Taipei: Wen-chin, 1995. __ • T’ao Yiian-ming nien-p’u Tientsin: T’ien-chin Ku-chi, 1991. Tseng, Chen-chen. “Mythopoesis Historicized: Qu Yuan’s Poetry and Its Legacy.” Unpublished Ph.D. dissertation, University of Washington, 1992. Tsuru, Haruo m m m , et al... T6 Emmei Tokyo: Kadokawa Shoten, 1988. Kansho Ch&goku no koten, 13. Ueda, Takeshi _hP3®;. Ryd Chuan: To Emmei den-Chugoku ni okeru sono ningenzp no keisei katei Tokyo: Kyuko Shoin, 1987. __ • “To Enmei ni okeru hinkyfi no imi” Ch&goku bunka i t 50 (1995). Argues that T’ao Ch’ien’s “poverty” was spiritual (caused by his isolation), not economic. Wang, Meng-po ed. Tao YUan-ming shih-wen chiao-chien Harbin: Hei-lung-chiangJen-min, 1985. Wang, Shu-min comm. Tao Yiian-ming shih-chien cheng-kao Taipei: I-wen Yin-shu-kuan, 1975. An interesting and important commentary. Wei, Cheng-shen HIE ^ . T’ao Yiian-ming p ’ing-chuan Peking: Wen-chin, 1996. Yiian, Hsing-p’ei Tao Yiian-ming yen-chiu Peking: Pei-ching Ta-hsiieh, 1997. Yoshikawa, Kojird To Emmei den Tokyo: Shinchdsha, 1974. An important study. Ti-fang hsi
(regional drama)
Studies Kwong, H. F. “L’evolution du theatre populaire depuis les Ming jusqu’a nos jours: le cas de Wang Zhaojun.” 7P 77 (1991): 179-225. Tanaka, Issei. “The Social and Historical Context for Ming-Ch’ing Local Drama.” In Andrew J. Nathan, David Johnson and Evelyn S. Rawski, eds. Popular Culture in Late Imperial China. Berkeley: University of California Press, 1985, pp. 143-160. Yung, Bell. Cantonese Opera, Performance as Creative Process. Cambridge: Cambridge University Press, 1989.
Tsa-chu m m Editions and Rtferences Chao, Ching-shen and Shao Tseng-ch’i eds. Yuan Ming pei tsa-chU tsung-mu k ’ao-liiehjt^i'cM .M M .@ C h e n g c h o w : Chung-chou Ku-chi, 1985. Introductions to 112 Yiian and early Ming authors and all anonymous tsa-chu prior to the Chia-ching era. Chuang, I-fu Ku-tien hsi-ch’u ts’ung-mu hui-k’ao 3v. Shanghai: Shang-hai Ku-chi, 1982. Annotated list of nearly 2000 existing tsa-chu and 2600 cA’uan-cA’t providing information on authorship, plots, texts, etc.; several indexes. Ho, Hsin-hui M m m , ed. Yiian-ch’ii chien-shang tz’u-tien Peking: Chung-kuo Fu-nii, 1988. Close readings of 800 tsa-chu and san-ch’tiai the Yiian. Ho, Kuei-ch’u comp. Yiian-ch’u ssu-ta-chia lun-chu so-yin Hong Kong: Yii-ching Shu-hui, 1996. _ Hsii, Ch’in-chttn ed. and comm. Hsin-chiao Yiian-k’an tsa-chii san-shih chung
HSl!l—+ ® . Peking: Chung-hua, 1980. Jen-min Wen-hsiieh Ch’u-pan she, ed. Yiian tsa-chii chien-shang chi MM. Peking: J en-min wen-hsiieh, 1983. Chung-kuo ku-tien wen-hsiieh chien-shang ts’ung-k’an, 6. Li, Hsiu-sheng ed. Yiian-ch’ii ta-tz’u-tien Tuffi A P f t. Nanking: Chiang-su Chiao-yii, 1995. Li, Wen-ch’i ed. Yiian tsa-chii shang-hsi 7E$|j®|Jf#T. Lanchow: Kan-su Jen-min, 1988. Readings of 12 plays or scenes from plays by 10 dramatists. Ning, Hsi-yiian ed. Yiian-k’an tsa-chii san-shih-chung hsin-chiao Lanchow: Lan-chou Ta-hsiieh, 1988. Based on the Yiian-k’an tsa-chii san-shih-chung edition, plot summaries and reference materials are provided for each of these classical dramas. P’u, Chien h$t, ed. Yiian-ch’ii pai-k’o ta-tz’u-tien Peking: Hsiieh-yiian, 1991. Wang, Chih-wuJE;S:5£, ed. Ku-tai hsi-ch’ii shang-hsi tz’u-tien (Yiian-ch’ii chiian) (7Cft # ) . Sian: Shan-hsijen-min, 1988. Literary close readings of 117 dramas by 51 Yiian authors, 5 from later periods, and 45 anonymous Yiian plays. Wang, Yung-k’uan 3E*ic1S. Ch’ing-tai tsa-chii hsiian tf'ftH&Ijgl. Chengchow: Chung-chou Ku-chi, 1991. Yiian, Shih-shuo IsttttfiK, ed. Yuan-ch’Upai-ko tz’u-tien. Tsinan: Shan-tung Chiao-yii, 1989. Over 2100 entries on various aspects of Yiian tsa-chii and san-ch’U. Translations Coyaud, Maurice. Les operas des bords de I’eau (theatre Yuan). Paris: Pour 1’Analyse du Folklore, 1983. Studies Abe, Yasuki
Koshi Ryu Koan zunden sanbu saku no hensan” Chugoku Bungaku Ronshu2l, 1992. Akamatsu, Norihiko “‘Genkyokusen’ ga mezashitan mono” & £ )£ ' L Chugoku Kotengikyoku ronshu, 1991. Besio, Kimberly Ann. “The Disposition of Defiance: Zhang Fei as a Comic Hero of Yuan Zaju. "Unpublished Ph.D. dissertation, University of California, Berkeley, 1992. Chang, Shu-hsiang Yiian tsa-chU chung te ai-ch’ingyU she-hui Taipei: Ch’ang-an, 1980. Chang, Yen-chin Chung-kuo hsi-ch’u shih lun-chi Peking: Yen-shan, 1996. Ch’ang, Chen-kuo and Chiang Yiin eds. Yuan tsa-chUfa-chan shih S . Taipei: Li-ming, 1995. Ch’en, Fang$^/if. Ch’ing-ch’u t s a - c h u y e n - c h i Taipei: Hsiieh-hai, 1991. Chi Kuo-p’ing ipgjsf. Yuan tsa-chu fa-chan shih 7G%A9&Mj&- Taipei: Wen-chin, 1993. Ta-lu ti-ch’u po-shih lun-wen ts’ung-k’an, 37. Reprint of a Ph.D dissertation done at Yang-chou Shih-fan Hsiieh-yiian in 1991. Dolby, William. “Some Mysteries and Mootings about the Yuan Variety Play.” Asian Theatre Journal 11 1994.1: 81-89. Hsii, Chin-pangIffsttW- Chung-kuo hsi-ch’u wen-hsUeh-shih Peking: Chung-kuo Wen-hsiieh, 1994. A survey from the Ch’in to the Ch’ing dynasties. __ . Yiian tsa-chii kai-lun Tsinan: Ch’i-Lu Shu-she, 1986. Emphasizing the thought and artistry of the genre. Huang, Hui H # . Yiian-tai hsi-ch’Ushih-kao 7cf^lK/$!l ■£$?!. Tientsin: T’ien-chin Ku-chi, 1995. Huang, Shih-chi ffrblij. Yuan tsa-chu tso-fa lun 7c3Slt!l'f/F?£f#- Hsining: Ch’ing-haiJen-min,
1983. Diverse studies (14) of the genre; bibliography appended. Idema, W. L. “Emulation through Readaptation in Yuan and Early Mine Tsa-chii.”AM, TS3 (1990): 113-28. __ . “Yiian-pen as a Minor Form of Dramatic Literature in the Fifteenth and Sixteenth Centuries.” CLEAR 6 (1984): 20-42. __ . “The Tsa-jiu of Yang Tz: An International Tycoon in Defense of Collaboration.” In Proceedings o f the Second International Conference on Sinology. Taipei: Academia Sinica, 1989, pp. 523-48. __ . “Why You Never Have Read a Yuan Drama: The Transformation of Zaju at the Ming Court.” In Studi in ottore di LancieUo Lanciotti. S. M. Carletti, M. Sacchetti and P. Santangelo, eds. Naples: Instituo Universiatorio Orientale, Dipartimento di Studi Asiatici, 1996, pp. 765-91. Inoue, Taizan # _ h ^ [i|. “Genkyoku kankei gosho goshaku sakuin” KansaiDaigaku chugoku bungakkai kiyo 10 (1989): 60-117. Li, Ch’un-hsiang Yiian tsa-chii lun-kao Kaifeng: Ho-nan Ta-hsiieh, 1988. __ . Yiian tsa-chii shih-kao Kaifeng Ho-nan Ta-hsiieh, 1989 Li, H siu-sheng^0£. Yiian tsa-chii shih Nanking: Chiang-su Ku-chi, 1997. __ , Li Chen-yvi and Hou Kuang-fu eds. Yiian tsa-chii lun-chi 2v. Tientsin: Pai-hua Wen-i, 1985. About 40 articles equally divided between general studies of the genre, Kuan Han-ch’ing, Wang Shih-fu, and other dramatists; bibliographies appended. Liang, S h u - a n a n d Yao K’o-fu Chung-kuo chin-tai ch’uan-ch’i tsa-chii ching-yen-lu Peking: Shu-mu Wen-hsien, 1996. Ling, Chia-wei Yiian tsa-chii ku-shih chi Nanking: Chiang-su Jen-min, 1983. Liu, Yin-pai Yiian-tai tsa-chu shih Shih-chia-chuang: Hua-shan Wen-i, 1990. Lo, Wai Luk. “The Tragic Dimensons of Traditional Chinese Drama: A Study of the Yuan zaju.” Unpublished Ph.D. dissertation, City University of New York, 1994. Lu, Tan-an fUJ®;#;, ed. Hsi-ch’ii tz’u-yii hui-shih Shanghai: Shang-hai Ku-chi, 1981. Entries are drawn primarily from Yiian-pen and Tsa-chii with some from Chu-kung-tiao; no material from later drama is included. Men, K’uei H U . “Yiian-ch’ii chia erh-shih-jen tzu-liao tien-ti” 7C® ^—+A Sf'lel'15i£i. Wenhsueh i-ch’an 1985.1 (1985): 144-48. Ning, Tsung-i et al, eds. Yiian tsa-chii yen-chiu kai-shu Tientsin: T’ien-chin Chiao-yii, 1987. Pien-chi-pu, Jen-min Wen-hsiieh Ch’u-pan-she, ed. Yiian tsa-chii chien-shang chi . Peking: Jen-min Wen-hsiieh, 1983. Close readings of 20 tsa-chii. Shang, T’ao $j§§. Lun Yiian-tai tsa-chii Tsinan: Ch’i-Lu Shu-she, 1986. Shih, Kuang-sheng. “Ritualistic Aspects of Yiian Tsa-chii Theater.” Unpublished Ph.D. dissertation, University of California, Los Angeles, 1992. “Symposium: What More Do We Need to Know about Chinese Theatre?” Asian Theatre Journal 11 (1994): 81-118. Contributions by William Dolby on tsa-chii, Elizabeth Wichmann on ching-chii, and Colin Mackerras on theater of the minority peoples. Ts’ung, Ching-wen Yiian tsa-chii hsi-lun • 2v. Taipei: Tai-wan Shang-wu Yin-shu-kuan, 1987. _ _ Wang, Kuo-wei 3E®i$£. “Yiian-k’an tsa-chu san-shih-chung hsii-lu 7CTy|l$JH+$l££S$:.” In Wang Kuo-wei hsi-ch’ii lun-wen chi Peking: Chung-kuo Hsi-chii, 1984. Wang, Linda Greenhouse. “A Study of Ma Chih-yiian’s San-ch’ii and Tsa-chii Lyrics.” Unpublished Ph. D. dissertation, University of California, Berkeley, 1992.
Wang, Shou-chih 5EH/2L. Yiian tsa-chii hsi-chii i-shu Hofei: An-hui Wen-i, 1985. An-hui hsi-chii li-lun ts’ung-shu. Yen, T’ien-yu Yiian tsa-chii pa lun x$|Jt!JAfra. Taipei: Wen-shih-che, 1996. __ • Yuan tsa-chii sofan-yang chih Yuan-taishe-hui Taipei: Hua-cheng Shu-chii, 1984. Ts’ai-tzu chia-jen hsiao-shuo * ^'fjiA^aft (scholar and beauty novels) Editions and References Ching-hu I-sou $8$3$!SL LiI-hsiiehyileh-mei chuan Peking: Pei-ching Shih-fan Ta-hsiieh, 1993. Pei-ching Shih-fan Ta-hsiieh t’u-shu-kuan kuan-tsang ts’ai-tzu chia-jen hsiao-shuo hsiian-k’an. Hsi-yang t’ang chu-jen A- Erh-tu mei —JUfH. Peking: Pei-ching Shih-fan Ta-hsiieh, 1993. Pei-ching Shih-fan Ta-hsiieh t’u-shu-kuan kuan-tsang ts’ai-tzu chia-jen hsiao-shuo hsiian-k’an. Li-weng Hsien-sheng Ho chin hui-wen chuan -£■$§Hint'd. Peking: Pei-ching Shih-fan Ta-hsiieh, 1993. Pei-ching Shih-fan Ta-hsiieh t’u-shu-kuan kuan-tsang ts’ai-tzu chia-jen hsiao-shuo hsiian-k’an. Lin, Ch’en et aL, eds. Ts’ai-tzu chia-jen hsiao-shuo chi-ch’eng 7 t=F{ikA./hs&M$l- 5v. Shenyang: Liao-ning Ku-chi, 1997. Contains 26 works in this genre. Ming-chiao Chung-jen Hao-ch'iu chuan$$-$M. Peking: Pei-ching Shih-fan Ta-hsiieh, 1993. Pei-ching Shih-fan Ta-hsiieh t’u-shu-kuan kuan-tsang ts’ai-tzu chia-jen hsiao-shuo hsiian-k’an. Ti-an San-jen IKJ^iStA, ed. P ’ing-shan leng-yen Peking: Pei-ching Shih-fan Ta-hsiieh, 1993. Pei-ching Shih-fan Ta-hsiieh t’u-shu-kuan kuan-tsang ts’ai-tzu chia-jen hsiao-shuo hsiian-k’an. Studies Hu Wan-ch’uan #W /I|. Hua-pen yii ts’ai-tzji chia-jen hsiao-shuo chih yen-chiu Taipei: Ta-an, 1994.
Ts’ai Yen
{i!A
(b. ca. 178)
Studies Levy, DoreJ. “Transforming Archetypes in Chinese Poetry and Painting: The Case of Ts’ai Yen.” AM, TS 6 (2 1993): 147-68.
Ts’ang-lang shih-hua
IS (Poetry Talks)
Editions and References Ch’en, Ting-yii |5$?i[3L Yen Yii chi) Chengchow: Chung-chou Ku-chi, 1997. Kuo, Shao-yii ed. Ts’ang-lang shih-hua chiao-shih Peking: Jen-min Wen-hsiieh, 1983. Studies Chang, Chien “Ts’ang-lang shih-hua yen-chiu” Unpublished M.A. thesis, National Taiwan University, 1965. Chen, Ruey-shan Sandy. “An Annotated Translation of Yan Yu’s ‘Canglang shihua’: An
Early Thirteenth Century Chinese Poetry Manual.” Unpublished Ph.D. dissertation, University of Texas-Austin, 1996. Ch’en, Pai-hai Yen Yii ho Ts’ang-lang shih-hua jft3 ^ 0 stag. Taipei: San-min, 1993. Chung-kuo ku-tien wen-hsiieh chi-pen chih-shih ts’ung-shu, 52. Hsii, Chih-kang Yen Yii p ’ing-chuan Nanking: Nan-ching Ta-hsiieh, 1997. Lynn, Richard John. “The Talent Learning Polarity in Chinese Poetics: Yan Yu and the Later Tradition.” CLEAR 5 (1983): 157-84. Wang, Shih-po 3i±1$. “Yen Yii te sheng-p’ing” Wen-hsiieh i-ch’an 1985.4 (1985): 82-86. Ts’ao Chih W tt (192-232) Editions and Rtferences Chao, Yu-wen comm, and ed. Ts’ao Chih chi chiao-chu Wen-hsiieh, 1984.
Peking: Jen-min
Studies Chang, K’o-li §511®. San Ts’ao nien-p’u = W ¥ ff. Tsinan: Ch’i-Lu Shu-she, 1983. Cheng, Yung-k’ang Wei Ts’ao Tzu-chien hsien-skeng Chih nien-p’u l&Wir • If. Taipei: Tai-wan Shang-wu Yin-shu-kuan, 1981. Hsin-pien Chung-kuo ming-jen nien-p’u chi-ch’eng, 16. Ching, Shu-hui JSlBjgc. Wei Chin shih-jen yii cheng-chih Taipei: Wen-chin, 1991. Ta-lu ti-ch’ii po-shih lun-wen ts’ung-k’an, 12. A reprint of a Ph.D. dissertation done under the guidance of Miao Yiieh at Ssu-chuan Ta-hsiieh in 1991. Includes a section devoted to Ts’ao Chih. Chung, Yu-min H ISS- Ts’ao Chih hsin-t’an Hofei: Huang-shan Shu-she, 1984. Connery, Christopher Leigh. “Jian’an Poetic Discourse.” Unpublished Ph.D. dissertation, Princeton University, 1991. Cutter, Robert Joe. “The Incident at the Gate: Cao Zhi, The Succession, and Literary Fame.” 2P71 (1985): 228-62. __ . “On Reading Cao Zhi’s “‘Three Good Men’: Yongshi shi or Deng lin shi.” CLEAR 11 (1989): 1-11. Holzman, Donald. “Ts’ao Chih and the Immortals.” AM, T S l (1988): 15-57. Nieh, Wen-yii Ts’ao Chih shih chieh-i Hsining: Ching-haiJen-min, 1985. Yii, Te-mao “Ts’ao Chih yii Juan Chi shih-ko i-yiin pi-chiao” ,fcbt£. Yang-chou shih-yiian hsiieh-pao 81 (1990): 23-28.
Ts’ao Hsiieh-ch’in W M ff (ca. 1715-1763) Editions and Rtferences Cheng Chen-to tsang-ts’anpen Hung-lou mengMMMWM^MMiW- Peking: Shu-mu Wen-hsien, 1991. Chih-yen chai chuan pen Ts’ao Hsiieh-ch’in Shih-t’ou chi I t / f 5sS!f2. Chu Yung-k’uei 3cf*f£, ed. 2v. Peking: Wen-chin, 1988. Hung-lou meng Chang Chun §S{£:, et aL, comms. 4v. Peking: Pei-ching Shih-fan Ta-hsiieh, 1987. Includes the notes by Ch’i-kung __ .Jao Pin M W , ed. Taipei: San-min,J990. Shu Yiian-wei hsii pen Hung-lou m e n g ^ T t^ ^ ^ -^ M W ^ 2v. Peking: Chung-hua, 1987. Based on Ch’ien-lung chien ch’ao Shu Yiian-wei hsii pen (Ch’ing) edition.
Chou,Ju-ch’ang Ts’ao Hsiieh-ch'in hsin-chuan W Sfrffiffl- Peking: Wai-wen, 1995. Feng, Ch’i-yung ilJtJBjf. Ts’ao Hsiieh-ch’in mu-shih lun-cheng chi Peking: Wen-hua I-shu, 1997. Ts’ao P i W 2 (187-226) Editions and Rtferences Chang, K’o-li SUrT®. San Ts’ao nien-p ’u Tsinan: Ch’i-Lu Shu-she, 1983. Cheng, Hsiieh-t’ao ed. Lieh-i chuan teng wu-chung Peking: Wen-hua I-shu, 1988. Li-tai pi-chi hsiao-shuo ts’ung-shu. Hsia, Ch’uan-ts’ai and T’ang Shao-chung eds and comms. Ts’ao P ’i chi chiao-chu^^EM&&- Chengchow: Chung-chou Ku-chi, 1997. A nien-p’u is appended.
Ts’en Shen
(715-770)
Editions and Rtferences Ch’en, K’ang et aL, eds. Ch’iian T’ang shih so-yin: Ts’en Shen ch’iian : Peking: Chung-hua, 1992. Kao, Kuang-fu ed. Kao Shih, Ts’en Shen shih i-shih Harbin: Heilung-chiangJen-min, 1984. Liu, K’ai-yang fflm m , ed. Ts’en Shen shih hsiian Chengtu: Ssu-ch’uan Jen-min, 1986. Morino, Shigeo 3 ^ 9 ? $ ^ and Shinmen Keiko ffi'fkM-?'. Shin Shin kaski sakuin m m m i Tyoto: Hoyu Shoten, 1987. Studies Ch’ai, Ying-hung “Ts’en Shen pien-sai shih te i-shu feng-ko” Ji.$& . Wen-hsiieh p ’ing-lun ts’ung-k’an22 (1984): 103-20. Also in Tang-tai wen-hsiieh yen-chiu nien-chien, 1986 1986. Sian: Shan-hsiJen-min, 1987, pp. 137-140. Chou, Hsiin-ch’u and Yao Sung Wffc. Kao Shih ho Ts’en Shen Shanghai: Shang-hai Ku-chi, 1991. Ichikawa, Kiyoshi TfrJIItSiS. “Kennan jidai no Shin Shin” Nisho3 (1989): 245-79. Liao, Li M tiI. “Ts’en shih hsi-cheng tui-hsiang chi ch’u-shih ti-tien tsai-t’an” Chung-chou hsiieh-k’an 1992.2: 104-8. Pien, Hsiao-hsiian “Kao Ts’en i-t’uiig lun” S-^HInla#. Wen-shih chi-lin 1985.4 (1985): 151-73. Sun, Ying-ta Ts’en Shen shih chuan Chengchow: Chung-chou Ku-chi, 1989. T’ao, Erh-fu “Ts’en Shen pien-sai-shih hsin-t’an” Wen-hsiieh p ’ing-lun 1987.3: 130-40. Wang, Hsun-di’engjEftS/jSc. “Ts’en Shen wan-ko k’ao” Wen-hsiieh i-ch’an 1990.2 (1990): 54-60.
Tseng Kung
(1019-1083)
Editions and Rtferences Ch’Uan Sung shih 8:454-462.5513-5613.
Ch’uan Sung wen, 29:1231-1274.2-689. Pao, Ching-ti fefSfH and Ch’en Wen-hua eds. Tseng Kung san-wen hsiian-chi $$ 3£j£l*. Shanghai: Shang-hai Ku-chi, 1997. Tseng Kung chi Ch’en Hsin-chen and Ch’ao Chi-chou SkM ffl, eds. Peking: Chung-hua, 1984. Chung-kuo ku-tien wen-hsiieh chi-pen ts’ung-shu. Studies Chiang-hsi Sheng Wen-hsiieh I-shu Yen-chiu So ed. Tseng Kung yen-chiu lun-wen chi Nanchang: Chiang-hsi Jen-min, 1986. A collection of essays from a conference held in Chiang-hsi in December of 1983 commemorating the 900^ anniversary of Tseng Rung’s death. Chou, Ming-ch’in Sung Tseng Wen-ting kung Kung nien-p’u Taipei: Tai-wan Shang-wu Yin-shu-kuan, 1981. Hsin-pien Chung-kuo ming-jen nien-p’u chi-ch’eng, 15. Chu, Shang-shu and Tseng Tsao-chuang HU?®:. Tseng Kung shi-wen jt. Taipei: Chin-hsiu, 1993. Chung-kuo ming-chu hsiian-i ts’ung-shu. Hsia, Han-ning Tseng Kung Peking: Chung-hua, 1993. Chung-kuo wen-hsiieh-skih chih-shih ts’ung-shu. Ma, Hsing-ying H P ^ . “Lun Tseng Kung tz’u” Fu-chou Shih-chuan hsiieh-pao 1988.4(1988). Translations Chu, Shang-shu $ 2 $ # . Tseng Kung shih-wen hsiian-i 1990. Ku-tai wen-shih. ming-chu hsuan-i ts’ung-shu.
Tseng Kuo-fan
Chengtu: Pa-Shu Shu-she,
(1811-1872)
Editions and References Chiang, Shih-jung ed. and comm. Tseng Kuo-fan wei-k’an hsin-kao It® $17^.1 {5 $?. Peking: Chung-hua, 1959. Tseng, Kuo-fan Shih-pa chia shih-ch’ao Ch’en Ts’un-hui et al, comms. Taipei: Kuang-wen Shu-chii, 1981. __ . Tseng Kuo-fan chia-shu Chengchow: Chung-chou Ku-chi, 1994. Li-tai ming-jen chia-shu. __ . Tseng Kuo-fan chiao-tzji shu Mffi.-f'Wt- Hainan, 1994. __ . TsengKuo-fan ch’iian-chi tt®???jklfl. Changsha: Yiieh-lu Shu-she, 1985-1994. 30v. Ch’uanchung Shu-chii JD edition. __ . TsengKuo-fan ch’iian-chi: chia-shu • W ti. 2v. Teng Yiin-sheng ed. and comm. Changsha: Yiieh-lu Shu-she, 1985. __ . TsengKuo-fan ch’iian-chi: jih-chi : BIB. 3v. Hsiao Shou-ying et al, comps. Changsha: Yiieh-lu Shu-she, 1987-89. Appends name and subject indexes. __ . TsengKuo-fan ch’iian-chi:p’i-tu : Htffl. Li Lung-ju comp. Changsha: Yiieh-lu Shu-she, 1994. __ . TsengKuo-fan ch’iian-chi:shih-wen '■B$5C- P’eng Ching comp. Changsha: Yiieh-lu Shu-she, 1986. __ . TsengKuo-fan ch’iian-chi: shu-hsin H : # fe . 10v. Yin Shao-chi fSiSS, comp. Changsha: Yiieh-lu Shu-she, 1990-94. __ . Tseng Kuo-fan jih-chi ft m$$ S 13. 3v. Tientsin: T’ien-chin Jen-min, 1995. __ . Tseng Kuo-fan wei-k’an wang-lai han-kao Chung-kuo she-hui k’ohsiieh-yiian chin-tai shih yen-chiu-so tzu-liao shih
ed. Changsha: Yiieh-lu Shu-she, 1986. Hsiang-chtin shih-liao ts’ung-shu. Tseng Ku-fan sheng-p’ing chi chia-tsu ts’ung-shu 5v. Shenyang: Liao-ning Ku-chi, 1997. Collects an assortment of Tseng’s writings as well as critical studies of his life and works. Translations Mei, Chi Ching-shihpai-chia chien-pien Tseng Kuo-fan ed. Nanchou: Kuang-hsiJen-min, 1988. Tseng, Kuo-fan ttg isl. Tseng Kuo-fan chia-shu wen pai tui-chao ch’tian-i s m . 3v. Peking: Chung-kuo Hua-ch’iao, 1994. Wang, Shu-lin Ch’iu ch’iieh-chai sui-pi 3fc|BJ|£|5ff^E. Chengchow: Chung-chou Ku-chi, 1994. Studies Ch’eng, Hsiao-chiin Tseng Kuo-fan yii Chung-kuo chin-tai wen-hua JCih. Changsha: Ho-nan Wen-i, 1991. Chu, Ch’uan-yii Tseng Kuo-fan chuan-chi tzu-liao 1lli9$f'PifE3§fiis4. llv. Taipei: T’ien-i, 1979-85. Chu, Tung-an Tseng Kuo-fan chuan H Chengtu: Ssu-ch’uan Jen-min, 1985. Chung-kuo chin-tai shih chuan-t’i yen-chiu ts’ung-shu. Appends a bibliography and a nien-piao. T’ang, Hao-ming Tseng Kuo-fan © H^f. 3v. Changsha: Ho-nan Wen-i, 1994. Ch’angp’ien li-shih hsiao-shuo. Wang, Chen-yiian 3:$8211. “Lun Tseng Kuo-fan te wen-hsiieh ti-wei” In Chung-hua wen-shih lun-ts’ung Shanghai: Shang-hai Ku-chi, 1986.3, pp. 65-84.
Tseng Fu gfft (1872-1935) Translations Bijou, Isabelle. Fleur sur Vocean des peches. Paris, 1983. Studies Ch’eng, I-chi Nieh-hai hua yen-chiu Taipei: Chia-hsin Shui-ni Kung-ssu Wen-hua Chi-chin Hui, 1969. Hinz, Blanka. Der Roman Eine Blume im Siindenmeer ("Nieh-hai hua”) und sein Platz in der chinesischen Literatur. Bochum: Brockmeyer, 1995. Shih, Meng 0#H. Tseng P’u yen-chiu Shanghai: Shang-hai Ku-chi, 1982.
Tso chuan iiMEditions and Rtferences Fang, Hsiian-ch’en “Tso chuan jen-wu ming-hao yen-chiu” Ph.D. dissertation, Cheng-chih University Taiwan, 1983. Li, Tsung-t’ung comm. Ch’un-ch’iu Tso chuan chin-chu chin-i 3v. Taipei: Tai-wan Shang-wu Yin-shu-kuan, 1987. Ogura, Yoshihiko Shunju sashi den #$c:feJS;€s. 3v. Tokyo: Iwanami Shoten, 1988-89. Shigezawa, Toshio, ed. Tso chuanjen-ming ti-ming so-yin Taipei: Kuang-wen
Takezoe, Koko comm. Tso chuan hui-chien Taipei: Ming-ta, 1986. Also includes the commentary of Tu Yii (222-284). Shen, Ch’in-han t (1755-1831), comm. Ch’un-ch’iu Tso-shih chuan ti-mingpu-chu # $ c 2v. Peking: Chung-hua, 1985. TSCC. Yang, Po-chiin ed and comm. Ch’un-ch’iu Tso chuan chu 4v. Peking: Chung-hua, 1982. __ and Hsii T’i #11, eds. Ch’un-ch’iu Tso chuan tz’u-tim m f t & m m . Peking: Chung-hua, 1985. Translations Ch’u, Hsiian-ying W M M trans. Tso chuan hsiian-i tiW M W - Shanghai: Shang-hai Ku-chi, 1982. Feng, Tso-min $§fFK. Pai-hua Tso chuan Changsha: Yiieh-lu Shu-she, 1989. Shen, Yii-ch’eng JfcEjjSc, trans. Tso chuan i-wen1xMM~£. Peking: Chung-hua, 1981. Chung-kuo ku-tien ming-shu chu i chu ts’ung-shu. Translation by the noted scholar and former student of Yang Po-chiin who worked with Yang on his annotation and dictionary. Wang, Shou-lien jEtF!!, trans. and comm. Tso chuan hsiian i-chu ifeflfjlliPi}:. Kweiyang: Kuei-choujen-min, 1974. __ , et aL, trans. and comms. Tso chuan ch’Uan-i Kweiyang: Kuei-choujen-min, 1990. Chung-kuo li-tai ming-chu ch’iian-i ts’ung-shu. Watson, Burton. Selections from the Tso Chuan, China’s Oldest Narrative History. New York: Columbia University Press, 1989. Studies Bissell, Jeff. “Literary Studies of Historical Texts: Early Narrative Accounts of Chong’er, Duke Wen ofJin.” Unpublished Ph. D. dissertation, University of Wisconsin, 1996. Blakeley, Barry B. “Notes on tne Reliability and Objectivity of the Tu Yii Commentary on the Tso Chuan.”JAOS 101 (1981): 207-212. Boltz, William G. “Notes on the Textual Relation Between the Kuo yii and the Tso chuan.” BSOAS53 (1990): 491-502. Chang, I-jen SSiUi-- Kuo yii Tso chuan lun-chi Taipei: Tung-sheng, 1980. Chang, Kao-p’ing Tso chuan chih wen-hsUeh chia-chih Taipei: Wenshih-che, 1982. Wen-shih-che-hsiieh chi-ch’eng, 69. Appends bibliographical references. __ . Tso chuan chih wen-t’aoiLfa^L^CM. Kaoshiung: Li-wen Wen-hua, 1994. Liang-an ts’ung-shu, 10. Chang, Su-ch’ing 3Sf&®P. Tso chuan ch’eng shih yen-chiu Taipei: Kuo-li T’ai-wan Ta-hsiieh, 1991. Kuo-li T’ai-wan Ta-hsiieh wen-shih ts’ung-k’an, 89. Cheng, Chiin-hua IKifijS. aTso tAaan-ch’ang-p’ien hsii-shih wen-hsiieh te ch’u-hsing” — Wen-hsUehp’ing-lun ts’ung-k’an 18 (1983). Chou, Tz’u-chi Tso chuan tsa-k’ao Taipei: Wen-chin, 1986. Durrant, Stephen. “Smoothing Edges and Filling Gaps: Tso chuan and the ‘General Reader’.” JAO SU 2 (1992): 36-41. __ . “Ssu-ma Ch’ien’s Conception of the Tso chuan.”JAOS 112 (1992): 295-301. Heidbiichel, Ursula. “Rhetorik im antiken China, eine Untersuchung der Ausdrucksformen hofischer Rede im Zuozfiuan.”Ph. D. dissertation, University of Munster, 1993. Ho, Le-shih Tso chuan fan-wei fu -tz’u £f!46lllB!ld§|. Changsha: Yiieh-lu Shu-she, 1994. Tso chuan yU-yen yen-chiu wen-chi, 1. Hsii, Jen-fu Tso chuan shu-chmglxMWtM- Chengtu: Ssu-ch’uan Jen-min, 1981. Hung, Liang-chi (1746-1809). Ch’un ch’iu Tso chuan ku Li Chieh-min MM:, ed. 2v. Peking: Chung-hua, 1987.
Imber, Alan. Kuo yU: An Early Chinese Text and Its Relationship with the Tso Chuan. 2v. Stockholm: Stockholm University Press, 1975. Kamata, Tadashi flfcffliE. Saden no seiritsu to sono tenkai lEfccDjfciL t Tokyo: TaishGkan Shoten. First published in 1963. Appends an index. Kao, Shih-ch’i ifsSitjf (1645-1703). Tso chuan chi-shihpen-moiEMiSM-^^. Peking: Chung-hua, 1979. Kuan, Hsieh-ch’u Tso chuan chii-fa yen-chiu g. Hofei: An-hui Chiao-yii, 1994. Tso chuan chan-tz’u chi-chieh Hong Kong: Wan-ch’ing Shu-wu, 1965. Sailey,Jay. “T’ung Shu-yiieh, the Tso chuan, and Early Chinese History.” JAOS 104 (1984): 529-536. Shen, Yii-ch’eng and Liu Ning §!]$. Ch’un-ch’iu Tso chuan hsUeh shih-kao Nanking: Chiang-su Ku-chi, 1992. Chung-kuo ku wen-hsien yen-chiu ts’ung-shu. Sun, Lu-i H&M'fa- Tso chuan yii Chung-kuo ku-tien hsiao-shuo Peking: Pei-ching Ta-hsiieh, 1992. Tai, Chiin-jen Jlclttl, et al. Ch’un ch’iu San-chuan yen-chiu lun-chi tH - Taipei: Li-ming, 1981. Tseng, Ch’in-liang ftl& il. Tso chuan yin shih-fu shih chih shih chiao yen-chiu Taipei Wen-chin, 1993. Wen-shih-che ta-hsi, 61. T’ung, She-yeh (1908-1968). Ch’un-ch’iu Tso chuan yen-chiu Shanghai: Shang-haijen-min, 1980. Wang, Ching-yii 3£SS^. “Tsai-lun Tso chuan yii Kuo-yii te kuan-hsi” Chung-kuo wen-che yen-chiu t’ung-hsiin 6.4 (December 1996): 95-101. __ . Tso chuan yii ch’uan-t’ung hsiao-shuo lun-chi Peking: Pei-ching Tahsiieh, 1989. Yang, Po-chiin “Tso chuan ch’eng-shu nien-tai lun-shu” Wen-shih 6 (1979). Yasamoto, Hiroshi Shunju Sashiden #$c;£J3c4k. Tokyo: Kadokawa Shoten, 1989. Kanshu Chugoku no koten, 6. Includes maps, charts, references and an index. Tso Ssu £:& {ca. 253-ca. 307) Studies Hsii, Ch’uan-wu “Tso Ssu, Tso Fen hsing-nien k’ao-pien” kuo wen-che yen-chiu t ’ung-hsiin 5.3 (September 1995): 159-172. Wei, Feng-chiian “Lun Tso Ssu chi ch’i wen-hsiieh ch’uang-tso” # . Chung-kuo ku-tien wen-hsiieh lun-ts’ung 2 (1985): 37-54.
Ts’ui Hao
I#- Chung-
(d. 754)
Editions and Rtferences Wan, Ching-chun comm. Ts’ui Hao shih-chu S U fS ii. Shanghai: Shang-hai Ku-chi, 1985. T’ang-shih hsiao-chi, 1:4. Tsun-chHen chi W-WtHfe Studies Bryant, Daniel. “Messages of Uncertain Origin: The Textual Tradition of the Nan-T’ang
erh-chu tz’u.”in Yu, Voices, pp. 298-348. Important study with implications for all textual filiations.
Ts’ung-shu H # (collectanea) Studies Shaw, Shiow-jyu Lu. The Imperial Printing o f Early Ch’ing China. San Francisco: Chinese Materials Center, 1983.
Tu Fit tfclf (712-770) Editions and Rrferences Chao, Tz’u-kung (Ch’ing dynasty), comm, and Lin Hsii-chung ed. Tu shih Chao Tz’u-kung hsien-hou chieh chi-chiao Shanghai: Shang-hai Ku-chi, 1994. Cheng, Ch’ing-tu et al., eds. Tu chi shu-mu t’i-yao t t i t * @ l l i l - Tsinan: Ch’i Lu Shu-she, 1986. A thorough study of editions with a 120-page bibliography of modem studies appended. Chou, Ts’ai-ch’iian ed. Tu chi shu-lu t t * * * . 2v. Shanghai: Shang-hai Ku-chi, 1986. The most extensive bibliography of editions, commentaries, studies, etc.; with indexes. Chung, Fu and T’ao Chiin eds. Tu Fu wu-chung so-yin Shanghai: Shang-hai Ku-chi, 1992. Luan, Kuei-ming HSII $3, ed. Ch’uan T’ang-shih so-yin: Tu Fu chiian : 2v. Peking: Chung-hua, 1997. Ts’ao, Shu-ming WWRj. T u F u ts’ung-chiao Peking: Chung-hua, 1978. Critical studies of various traditional editions. TuFu ts’ao-t’ang li-shih wen-hua ts’u n g - s h u Chengtu: Ssu-ch’uan Wen-i, 1997. Tu Fu yen-chiu hsiieh-k’an Chengtu: Tu Fu Yen-chiu Hsiieh-k’an Pien-chi-pu, 1981, V. 1-. Tu shih hsiang-chu Ch’iu Chao-ao (1638-1713), commentator. 5v. Peking: Chung-hua, 1979. Best modem critical edition. Translations Cheng, Wing-fun and Herve Collet, trans. Tu Fu, dieux det diablespleurent Millemont, France: Mouudartea, 1987. Free, uxvanaoUted versions of about 7Q preceded by a. 14-pp. introduction. Ch’eng, Ch’ien-fan. “One Sober and Eight Drunk; Du Fu’s ‘Song of the Eight Dmnken Immortals.’” Song Zianchun, trans. SSC 6.1 (1986). Costantini, Vilma, ed. Coppe di giada. Turin, 1985. Contains translations of about forty poems each by Li Po, Tu Fu and Po Chu-i. Idoma, W. L. De verweesde boot-klassieke Chinese gedichten. Amsterdam: Meulenhoff, 1989. Translations of 144 poems with explanatory notes. Studies Bezin, Leonid E. Du Fu. Moscow: Molodaja Gvardija, 1987. Ch’en, I-hsin Tu Fu p ’ing-chuan 3v. Shanghai: Shang-hai Ku-chi, 1982 and 1988. A careful biography of over 1300 pages.
Ch’en, Wei Rfc®. Tu Fu shih-hsiieh t ’an-wei Taipei: Wen-shih-che, 1985. Ch’en, Wen-hua ^ jfcijS. Tu Fu chuan-chi Tang-Sung tzu-liao k ’ao-pim . Taipei: Wen-shih-che, 1987. Cherniack, Susan. “Three Great Poems by Du Fu: ‘Five Hundred Words: A Song of My Thoughts on Traveling from the Capital to Fengxian,’ Journey North,’ and ‘One Hundred Rhymes: A Song of My Thoughts on an Autumn Day in Kuifu, Respectfully Sent to Director Zheng and Adviser to the Heir Apparent Li.’” Unpublished Ph. D. dissertation, Yale University, 1988. Chiang, Jui-ts’ao Hsii Tu Kung-pu shih-hua Chang Chung-wang M, ed. Peking: Shu-mu Wen-hsien, 1994. Chin, Ch’i-hua jfelfcip. Tu Fu shih lun-ts’ung Shanghai: Shang-hai Ku-chi, 1985. __ and Hu Wen-t’ao Tu Fu p ’ing-chuan Sian: Shan-hsiJen-min, 1984. Chin, Sheng-t’an (1610-1661). Tu shih chiehttWM- Chung Lai-en SPfc®, ed. Shanghai: Shang-hai Ku-chi, 1984. Chou, Eva Shan. “Allusion and Periphrasis as Modes of Poetry in Tu Fu’s Eight Laments.” W A S 45 (1985): 77-128. __ . Reconsidering Tu Fu, Literary Greatness and Cultural Context. New York and Cambridge: Cambridge University Press, 1996. __ . “Tu Fu’s ‘Eight Laments’: Allusion and Imagery as Modes of Poetry.” Unpublished Ph. D. dissertation, Harvard University, 1984. __ . “Tu Fu’s Social Conscience: Compassion and Topicality in His Poetry.” W A S 51 (1991): 5-53. Chung, Ling. “This Ancient Man Is I: Kenneth Rexroth’s Versions of Tu Fu.” Renditions 21 and 22 (Spring and Autumn 1984), pp. 307-30. A study of Rexroth’s (1905-1982) critically regarded renditions of Tu Fu. Davis, A. R. “The Good Lines of the World Are a Common Possession’: A Study of the Effect of Tu Fu upon Su Shih.” In Chung-yang Yen-chiu Yuan Kuo-chi Han-hsiieh hui-i lun-wen chi Taipei: Chung-yang Yen-chiu Yiian, 1981, pp. 471-504. Although the focus is on Su Shih, a number of poems by Tu Fu and Li Po are discussed. Fang, Shen-tao (Sung dynasty). Chu-chia Lao Tu shih-p’ing Chang Chung-wang j&l&jfl, ed. Peking: Shu-mu Wen-hsien, 1994. Fu, Keng-sheng Tu Fu shih-lun |fc$f Shanghai: Shang-hai Ku-chi, 1985. Hsia, Sung-liang Tu Shih chien-shang tfcpfiSijSf• Shenyang: Liao-ning Chiao-yii, 1986. Interesting close readings of nearly forty poems. Hsieh, Daniel. “Du Fu’s ‘Gazing at the Mountain.’” CLEAR 16 (1994): 1-18. Hsii, Yung-chang Tu shih ming-p’ien hsin-hsi Nanking: Nan-ching Ta-hsiieh, 1989. Jaeger, Georgette. Du Fu: tty a homme errant. Paris: La Difference, 1989. Kan, Mitsu I et al. To Ho-shi to s h o g a i k Tokyo: Tokuma Shoten, 1992. Kurokawa, Yoichi M ill# - *. To Ho Tokyo: Kadokawa Shoten, 1987. Kanshd Chugoku no toten, 17. __ . To Ho shisen fctSfl#)!!. Tokyo: Iwanami Shoten, 1991. Ko, Chao-kuang IS and Tai Yen Wan Tang Feng-yiin-Tu Mu yii L i Shang-yin BfeJif Nanking: Chiang-su Ku-chi, 1991. Li, I Tu Fu Ts’ao-tang shih-chu Chengtu: Ssu-ch’uan Jen-min, 1982. Lin, Ming-hua. Tu Fu hsiu-tz’u i-shu Chengchow: Chung-chou Ku-chi, 1991. Liu, Chien-hui SUMMet al., eds. Tu Fu tsai K ’uei-chou Chungking: Ch’ung-ch’ing Chu-pan-she, 1992. Liu, Feng-kao (1761-1830). Tu Kung-pu shih-hua Chang Chung-wang 51 m ed. Peking: Shu-mu Wen-hsien, 1994. Liu, Wan. “Poetics of Allusion: Tu Fu, Li Shang-yin, Ezra Pound, and T. S. Elliot.” Unpublished
Ma, Ch’ung-ch’i TuFu ku-shih yiin-tu tcifS 'iS tS ilt Peking: Chung-kuo Chan-wane, 1985. McCraw, David R. Du Fu’s Laments from the South Honolulu: University of Hawaii Press, 1992. Mekada, Makoto fUJflfflifc To Ho no shi to shdgai %kWl (779-843),* 1 6 ,1 7 ,5 9 ,1 4 1 C hiang K’uei 31® (ca. 1155-1221),* 4 ,6 9 , 86
Chiang Y en (444-505),* 72,104 C h’iao C hou &&/! (199-270), 173 Chieh Chih-t’ui 159 Chien-an Prince of, 45 C hien-chang 17 C h ’ien C h ’ien-i (1582-1664),* 50, 1 0 8 -0 9 ,1 8 4 ,1 8 6 C h’ien H si m k ( ca. 1620-46), 52 C h’ien M u, 183 C h’ien Ta-hsin (1728-1804), 171 C h’ien W ei-yen (977-1034), 153 Chih-chan 154 Chih-nti MiC, 35 see also W eaver M aiden C hin Shih jfeJK, 11 C hin Y ung (C ha Liang-yung lE U i* o r Louis Cha, b. 1924), 191 C h’in C h’ing 3|£W, 142 C h ’in K uan £ | g (1049-1100),** 1, 2, 12-15, 5 2 ,8 2 ,1 0 8 Ching P’ien-p’ien fU S lH (fl late 16th c.), 109 Ching-ling pa-yu ftM /X S . (Eight Friends of Pa-ling), 179 C h’iu YUan V lfe (b. 1247), 84 C h o Jen -y iie h & A R (b. 1606), 112,113 C hou Ching-yang MlMM, 56 Chou, D uke of, 151 C hou Hsing-ssu (early 6th century), 32 Chou H ui MIM (b. 1126), 17 C hou Mi (1232-1299 or 1308),* 3, 84 C hou Pang-yen (1056- 1 121),* 69 C hou Tao-teng jf f g t S , 107 C h o u T e-ch ’in g J f tg f it (1277-1365), 19,169 C hou Tsai-chttn 53 C hou Tun-i W i m (1017-1073), 11 C hou Tzu-liang ffl-f-M. (497-516), 156 C h u C h ’i - f e n g ^ ® * , 171 C hu C h’ttan (1378-1448),* 19 Chu H s i # * (1130-1200), 11,33, 147,194 C hu I-hai Prince o f Lu # , (1618-62), 50 C hu I-tsun (1629-1709),* 85-86 C hu M u (100-163), 99 C hu Tse-chieh 86 C hu Tun-ju %i$tm (1080/1-ca. 1175), 43 Chu Yu-sung (d. 1645), 50
Chu-ko Liang (181-234), 73,135 ChU W an-yti 36 C h ’U YUan JB K (ca. 340-278 B.C.),* 65, 71, 99, 111, 143 C h ’tian Te-yti (759-818), 106 C huang C hou 2 1 ,2 4 C hung F a n g ® f t (956-1015), 17 C h u n g ju n g ffl&i (ca. 465-518), 41, 65, 104, 110,150,179 C hung Lai-yin, 157 C hung T ’u-nan 121 C h ’ung-chen em peror (r. 1628-1644), 115 Confucius, 1 0 2 ,151,173,177 Cook, Scott, 195 Cow herd Boy, 133 Cutter, R obert Jo e , 138,165
Fang H ui (1227-1306), 122 Fang Shu-pao 142 Fanner, J . M ichael 105,188 Feng K’ang Mini (d. 1000), 123 Feng M eng-lung ifg g tji (1574-1646),* 18, 36 -3 7 ,6 2 Feng Su * ? g (767-836), 88 Feng Yen MM, 143 Feng Y en (ca. 1-ca. 76), 98 Fong, G race S., 140 Fu-ch’un T 'ang 126 Fu H stian (217-278),* 91 ,1 7 4 Fu 1 (?-89), 91 Fu-she tS.^t (Restoration Society), 195 F u T i n g - if tJ g - , 171 Fu T s e n g ^ I f , 86
D
G
de Crespigny, Rafe, 135 Dickens, Charles, 76 Dolby, W illiam, 20 DolezelovS, M ilena 82 Doyle, A. Conan, 76 D udbridge, G len, 71,146 D um as fils, A lexandre, 76
G ardner, C. S., 64 G autam a Buddha, 179 Goodrich, L. C . , 67 G rant, Beata 70,109
E Egan, R onald, 41 Esen -ttL5fc, 53
F Fa-ching 66 Fan C hen (1007-1087), 152 Fan C h ’i (fl m id-fourth century), 150 Fan C h ’un-jen 1 Fan Chung-yen (989-1052),* 1 ,1 2 ,4 3 , 147,148 Fan Hung-chih 39 Fan Kao 100 Fan N ing (339-401), 39 Fan T ’ai (355-428), 39 Fan Tang-shih m 'S 'tS (1854-1904), 6 Fan Y eh SSBf (398-446),** 38-41,134 Fan Yttn ? £ * (451-503), 45,179 Fang, Achilles, 129,136
H Haggard, H . Rider, 76 H am m , J o h n C hristopher 192 H an Hsin Sfefa, 2 H an Pang-ch’in g $ |# P J# (1856-1894), 7 5 ,8 0 H an YU (768-824),* 2, 5, 6, 66, 87, 88 , 100-102,106-107,141,143,182 Han-fei, 177 H ao I -h s in g S K ffi (1757-1825), 166 H artm an, Charles, 5 ,9 7 Hegel, Robert E., 132 H o C h ’eng-t’ien (370-447), 45 H o Hsiin M IS, 45 H o Hstin {SIM (ca. 468-ca. 518),** 45-47
Hoijgu.45 H o Shao-chi f a ® * (1799-1873), 6 H o Y ti- f e n g M iJ t, 27 H ou Chih (1764-1829),** 48-49 H ou C hing m m (503- 552), 90 H ou HsUeh-shih 48 H ou 1 ,35 H ou Ytin-chin £ 9 $ % , 4 8 ,4 9
H si C hien 150 H si-chou # * , 17 H si-C hou Sheng (Scholar o f W estern Chou), 53 H si-hu YU-yin C hu-jen (The M aster w ho Fishes and Lives Reclusively on W est Lake), 62 H si K’ang (223-262),* 51 Hsi-shih SSIE, 160 H si Tso-ch’ih W H S (d. 384), 150,164 Hsi-tsung fllSi?, E m peror (r. 874-888), 113 Hsia, C. T., 76 H sia Ching-ch’ii WM M (1705-1787), 127 H sia Kuei {ft. 1190-1230), 85 H sia Pao-sung JCKffS, 16 H s i a T s e n g - y u X t t t (1886-1924), 78 H sia W an-ch’u n (1631-1647),** 49, $0-52 H sia Y ttn - iJ C ft# (1596-1645), 49 Hsia-hou clan, 162 Hsia-hou C han (243-291), 135 H siang K’ai-jan lp JtS ^ , 1890-1957), 190 Hsiao C h’ang-mao U fS JS (458-493), the Prince o f Chin-an W3?, 178 H siao C h ’en jBfSjE (478-529), 179 H siao C hao-yeh fffHSi? (473-494), 178 H siao IIff & (508-554), 45 H siao KangjfjSpJ (503-551), 90 H siao Liang-yu 34 H siao Tzu-liang, 179-180 H siao Tzu-liang (460-494), the Prince o f Ching-ling , 97, 178-180 H siao Y en JBffix, E m peror W u o f Liang ^ (r. 502-549), 4 5 ,9 7 -9 8 H siao Ying-shih M M ± (717-758),* 105 H sieh C h ’en 8 f ifc, 40 H sieh C h’eng 40 H sieh Chuangj®f$5: (421-466), 46 H sieh Ling-yUn $ 8 S (385-433),* 71,99 H sieh T ’iao ftfM (464-499),* 45-47, 155, 179, 180 H sieh Tsung SftH, 39 H sieh Yao-wen 50 H sien 1£, K ing o f H o-chien j^TI® (Liu T e 81 $g,r. 155-130 B.C.), 193
H sin C h ’i-chi $ £ £ (1140-1207),* 4, 42, 43, 5 2 ,8 4 ,8 6 ,1 7 5 Hsin-p’ai (New School), 189-190 Hsing-chao f fS f, 17 Hsing-chlin 169 H sing Feng fflSH,, 142 H sing K ao-m en W & PI, 56 Hsing Pingffl5^ (932-1010), 166 Hsiung Ping-chen 38 H sU H sU an # $ £ (917-992), 122,123,167 Hsii H ui '&m (d. 838), 144 Hsii H ui tf lB (341-ea. 370), 155 Hsii K’ai '&M (920-974), 122,167 Hsii K a n # # (171-218), 163 Hsii Kuan-chih, 34 H stiK uan-jih tf r J tB ,3 4 Hsii Mi i&ffrt® (303-373), 155 Hsii Nien-tz’u ^ & j & (1875-1908), 7 8 ,8 0 HsU S h e n f f t t (ca. 58-ca. 147), 167 Hsu Shih-lin 58 Hsii Shuo-fang, 115 HsU T ung (970-1011, chin-shih 1000), 17 HsU Tsung-yen (1768-1819), 184 HsU W ei (1521-1593),* 1 8 ,1 9 ,1 1 6 ,1 8 6 H su Y U an-tuan (fl e ig h te e n th century),** 58 HsUan, K in g o f C h ’i ^ f i i (319-301 B.C.), 21 Hsttan TingfiJffi (1832-1880), 75 HsUan-ying S J i , 168 HsUeh-hai, 28 HsUeh P’ing (d. 830), 141 Hstteh Su-chieh P fH iH , 54 HsUeh Ying P S , 40 Hstin HsU W R (231-189 B.C.), 65 ,1 3 5 HsUn-tzu 193 H u C h’Uan (1102-1180), 43 H u Chung-tsao 03£K$$, 68 H u Shih (1891-1962), 53, 76 H u Y U anM Jf (993-1059), 13,152,181 H ua Chiao VMS) 40-41 Huan-chu-lou-chu (Li S hou-m in $ # g , 1902-1961), 190 H uan K’uan ® U ; (fl. 73 B.C.), 91 H u an T ’an (ca. 43 B.C.-ea. A.D. 28),** 6 0 ,6 1 ,1 7 7
Huan Wen ffiffl (312- 373), 150 Huan-pi Chu-jen J R i t i A (The Master of the Surrounding Green), 53 Huang Ch’ao MM (d. 884), 66,113 Huang Feng-ch’ih jtMflfe, 126 Huang Kung-wang W & M (1269-1355), 196, 197 Huang Mo-hsi H )*® (1866-1913), 78 Huang T’ing-chien JlSgli (1045-1105),* 1, 2, 5-6,13 Huang Tsun-hsien H dtX (1848-1905),* 5 Huang Tsung-hsi ftz}5# (1610-1695),* 11 Huang Yti-chi (1629-1691), 67 Huang YUan-chieh JtiSfl'. 186 Hughes, E. R., 64 Hugo, Victor, 76 Hui-ch’ung M m (d. 1018), 17 Hui M , Emperor (r. 290-307), 103 Hui Kft, Emperor (r. 1101-1125), 43 H ui, King o f Liang
I
(370-319 B.C.), 21
Hui-lin jRift (737-820), 168 Hui-tsung 14 Hung Ch’eng-ch’ou (1593-1665), 50 Hung Chiin (1840-1893), 79 Hung Liang-chi i&'JEpj (1746-1809),* 11,90
I Idema, W. L., 117 I-hui m m (1799-1838), 68
J
Jan-li Tzu (Master of Burning Pigweed), 53 Jen Ch’ing f t W, 2 Jen iZ, Emperor (r. 1022-1063), 152 Jen Fang f£&j (460-508),* 99,155,179 Jen Ku 73 Joyce, 24 Juan Chi (210-263),* 8,23,51, 72 Juan YU gcJg (ca. 165-212),* 163 Juan Yiian S o t (1764-1849), 170 K
Kan Pao T * (fl 320), 73,173 K’ang-hsi flfj® emperor (r. 1662-1722), 189 196
Kant, 79 Kao Ch’i fcgfc (1336- 1374),* 184,185 Kao I-wei i®—IE, 62 Kao, Karl S. Y., 31 Kao Ming (ca. 1305-ca. 1370),* 18,19 Kerr, Janet Lynn 121 Knechtges, 9 Ko Hung M m (283-343),* 73 Ko Shou-chih 53 Ko Tsai ^ic(/Z: 1807), 169 Ku Ch’un (1799-after 1876),** 68, 69, 140 see also Ku T’ai-ch’ing vol. 1 Kujung fSM (ca.260-ca. 322), 109 Ku K’uang MM (ca. 725-ca. 814),* 70 Ku Lung (Hsiung Yao-hua 1936-1985), 191 Ku T’ai-ch’ing (1799-after 1876), 140 see also Ku Ch’un Ku Yeh-wang IBIf iE (519-581,169 Kuan Hsiu-ku Kuang-wu, Emperor (r. 25-57), 60, 98 K’uang Chou-i UMm. (1859-1926), 52,68,69 Kung, KingS of Lu (r. 154-ai. 129 B.C.), 187 Kung Tzu-chen M |§ 3^ (1792-1841),* 68 Kung-sun H s i a 173 Kung-sun Ni-tzu 193 K’ung Hsi-hsien 39 K’ungjung f t f t (153-208),* 163 K’ung Ling-ching ft!l#[ (d. 217), 163 y u Chi S J£ (1311- 1375),* 90 y u Chih-chi (661-721),* 41 y u Chtin S J $ (ca. 462-521),** 45,97-99 y u E SJft (1857-1909),* 79,82 y u Fang#?? (ca. 710-ca. 785), 105 y u Hsi m m /m , 168 y u H s ia n g S I 1*0 (77? B .C .- 6 ? B .C .),* 6 4 ,1 9 2
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103, 111, 1 3 5 ,1 5 0 ,1 9 4
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y Y e n - n i e n $ ® ^ , 173 y YU
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Liu Pao m H , 97 Liu Ping S im , 155 Liu Shih W M (1618-1664),** 107-108 Liu Sung-nien (late 12th century), 85 Liu T ’ing Sllfg, 97 D u T ’ung-chieh $ [n ]S t, 145 Liu Ta-chieh (1904-1977), 77,106 Liu Te, 193 Liu Tsung-yiian (773-819),* 11, 66, 87, 88, 1 0 0 ,1 0 1 ,1 0 6 ,1 4 4 ,1 5 3 Liu T ui glj& (fl. 1383),* 114 Liu T ung 16 Liu Ya-tzu (1887-1958), 49 Liu Y en S ® (d. 780), 106 Liu Yii (356-422), 39 Liu Yii-hsi m (772-842),* 8 7 ,9 6 Liu Yiian-ting 81 7C (chin-shih 789), 143 Liu Yiin S!1J§ (970-1030), 153 I i u Y ung^Pac (987-1053),* 14-15 42 Lo C h ’ing a ® (1442-1527), 118 Lo, Irving Yucheng, 7 ,5 2 ,8 7 , 198 Lu, K ing of, # 1 , 1 9 5 Lu C h ’en (n.d.), 104 Lu C h ’ui MM (470-526), 179 Lu C h ’ttn m m (742- 800), 107 Lu C hi M M (261-301),* 8, 71, 8 9 -9 1 ,9 8 ,1 0 3 , 1 09-111,174 Lu C hia H iH (ca. 228 -ca. 140 B.C.), 65 Lu C hih H R (754-805),* 87 Lu C hin-lan j t & M (789-814), 141 Lu Fa-yen H S I I ' (b. 562), 168 Lu H siu-ching (406-477), 155 Lu HsUn m m (183-245), 109 Lu H sU n # ffi (1881-1936), 25, 77, 79,81,144, 146 Lu I-wei MVAM, 170 Lu K’ang WsK (202-274), 109 Lu San-chiao & H 3S , 17 Lu T ’u ng (ca. 775-835), 182 Lu Te-m ing (556-630), 168 Lu Yu m m (1125-1210),* 23,104-105 Lu Yiin MM (262-303),** 8,1 0 3 ,1 0 9 -1 1 1 Lu Zongti 42 Lii Hsia-ch’ing S M W (b. ca. 990), 152 LU K’un g i $ , 35
Lu Pen-chung (fl- 1119), 43 Ltt Te-sheng 35 Lung-wu flt® em peror, 195
M M a Shao-yu Mi'Pffi, 15 M a YUan (fl 1180-1230), 85 M a YUeh-kuan J S B J f (1688-1766), 85 M a Yueh-lu H 0 S & (1697-1766), 85 M adam C h’ao, 5 4 ,5 6 M adam e Chi I f , 54 Mair, V ictor H ., 26,172 M ao C h ’ang 193 M ao I (1640-after 1712), 17 Mao Kuang-sheng H (b. 1873), 68 M ei C h’ung IS t*}1, 48 Mei Sheng (also read M ei C h ’eng, d. 141 B.C.),* 9 -1 0 ,6 5 Mei Shu-i m m m , 48 Mei Tseng-liang $}’$$$■, 48 M ei Yao-ch’en t S U E (1002-1060),* 181-182 Mei Ying-tso 169 Mencius, 102,177 M eng C h ’eng-shun (1598-1684),** 112-117 M eng C h ’eng-yao S I S H , 112 M eng C h ’i Sfifc (fl 841-886), 113 M eng Chiao ]£5f|5 (751-814),* 88, 182 M eng Chiu 1 10 M eng Li-chUn S I S i t , 48 M eng Ying-lin JESSI#, 112 Miao Hsi (186-245), 174 Miao Y U ehH £$, 135 M ie n -i,« ff;(1 7 6 4 - 1815), 68 M in C h ’i-chi (1580-after 1661), 128 Ming, Em peror HE (r. 57-75 A.D.), 176 Ming-t’an, A bbot (The N ight-bloom ing Cereus of the Ming), 195 Mo Yu-chih (1811-1871), 6 M orohashi Tetsuji I f (1883-1982), 170 Mu, Duke & (r. 659-621 B.C.), 145 Mu-lien, 35 Mugitani, 157
Nai-ho t’ien a-a tao-jen (The M an of the Way W ho Exclaims at Heaven’s Fecklessness), 121 Na-lan Hsing-te (1655-1685),* 69 Nan, Captain Si, 161 N an C ho (P791-854), 141,143 N an -w u y e h -m a n ftjaSSF® (T h e W ild Barbarian from Nan-wu), 82 Ni Tsan (1301-1374), 69,196 Nienhauser, W illiam H. Jr., 8 9 ,1 0 7 ,1 4 6 Nietzsche, 79 Niu-lang 4^13,35
O O C h ’ang W S (chii-jen 1724), 68 O-erh-t’a i W M # (1680-1745), 68 O u-yang C hien M.mM (d. 300), 103 O u-yang H siu (1007-1072),* 2, 12, 15, 17 ,102,129,147-149,151-152,182 O u-yang Hsiin ifcfi&it! (557-641), 128
P Pan Ku SEES (32-92),* 61, 64-66, 73, 90-91, 134-135,177,176 Pan Piao M M (3-54), 176 P’an C h ’tian-wen 157 P’an Lang *§|» (d. 1009), 16 P’an YUeh (247-300),* 71,174 Pao C hao (ta. 414-466),* 104,174 Pao-hsien {Sfcj®, 17 Pao K ung fefi- 0udge Pao), 81 Pao Tung-li 34 Pao Tzu-chen K3-P JI, 187 Pease, Jonathan, 16, 74,184 P e i Sung-chih (372-451), 85,135 P’ei T u U S (765-839), 106, 145 P’eng Chi-kuang 35 P e n g Sun-i $M % ! (fl. 1637), 52 Pi-ho-kuan Chu-jen 80 Pien Hsiao-hsii an 146 P’ing-chiang Pu-hsiao-sheng (nom d e p lu m e o f H sian g K ’ai-jan |n)1§$, 1890-1957), 190 P’ing s p , King of C h’u, 114
Po Chii-i (772-846),* 2 ,9 6 , 122-124 Pb H B * , 51 ,1 6 0 Pokora, Timoteus, 62,178 Pu-wang H sien-sheng (Master Fill-in-the-Gaps),
100 P u Meng-chu (also known as Ho-shuang n'ffi, late eighteenth century),** 132, 134 P’u Sung-ling * * 2 m (1640-1715),* 53 S Sai Chin-hua (1874-1936), 79 San-chiin 'EM. (Three Talents), 109 Schopenhauer, 79 Schwartz, Benjamin, 76 Seven W orthies o f the Bamboo G rove (Chu-lin ch’i-hsien t W ' t l f ) , 151 Shakespeare, W illiam, 76 Shao C hin-han S |5 # jg (1743-1796), 166 Shao Pi BP/&, 181 Shen C h’uan-shih ifcflISS (769-827), 141 Shen C h’tian 115 Shen C h ’un 114 Shen Chi-chi jJfcfiPiSf (ca. 740 -ca. 800),* 141, 145 Shen Chia-ch’e ifcHiSt, 86 Shen Ching if e * (1553-1610),* 18-20,114 Shen Fu (1762- after 1803), 76 Shen Pao-hsii 115 Shen Shan-pao (1807-1862),** 138,140 Shen T ’ai, 113 Shen Te-ch’ien (1673- 1769),* 184 Shen Tseng-chih i f c t ® (1850-1922), 6 Shen Ya-chih fcfcSSifc (781-832),** 141-146 Shen YUeh tfcjfa (441- 513),* 19, 45, 47, 90, 14 1 ,1 5 5 ,1 7 9 ,1 9 3 S h e n - ts u n g # ^ (r. 1068-1085), 1,13 Shih C h ’ung (249-300), 103 Shih C hieh 5 ^ (1005-1045),** 147-149 Shih Lo H © (274-333), 103 Shih M eng-lan 36 Shih P i n g S R (969-1040), 147 Shih Yen-nien (994-1041), 148 Shih Yu 5&JRf (first century A.D.), 32 Shih Yu E jfc, 159
Shih Yti-k’un 5 I M (1810-1871), 80 S h ih - s a n M e i+ H tt, 27 Shih-te T a n g tStSSjjf, 126 Shu C h ’i 51,160 S hu Y iie h -h sia n g g f® # (1219-1298), 3 Ssu-k’ung T ’u (837-908),* 44 Ssu-m a C h ’ien U J jjf i {ca. 145-fa. 86 B.C.),* 2, 2 1 -2 2 ,1 3 4 - 135,144,189 Ssu-m a H siang-ju (179-117 B.C.),* 2, 10,22, 65, 73 Ssu-m a 1 5] f g ® (178-251), 8 S su-m a J u i W]®5# (E m peror Y ttan tc , r. 317-323), 103 Ssu-m a K uang (1019-1086), 13,169 Ssu-m a Piao {ca. 240-ai. 306), 39-40, 67 Ssu-m a Y ing WU&H, 110
Su Ch’e IMIS (1039-1112),* 1,13,182 Su Hsiao-mei, 15
su,jui-iung m m m 12,4 8 , 92, 99, 112, 151, 175,181 Su M an-shu f t (1884-1918), 78 Su Shih M U (1037-1101),* 1, 2, 12-15, 23, 4 2 -4 4 ,5 2 ,6 9 ,8 6 ,1 3 4 ,1 4 8 , 175,182 Sun C h ’ing ^® P, 65 Sun C h ’o W (ca. 314-ca. 371),** 149 Sun C h ’u {ca. 218-293), 149-151 Sun C hiieh (1028-1090), 13, 181 Sun Fu W S. (992-1057), 147 Sun Ju -fa (late s ix te e n th -e a rly seventeenth c. A.D.), 18-19 Sun K’ai-ti S M tfft, 53,185 Sun, M aster, M -?, 116 Sun M ien 168 Sun Shih (962-1033), 151 Sun Ssu-mo M & M , 157 Sun T i (fl 735), 105 Sun Te-ch’ien WM M (1869-1935), 91 Sun T eng 8 Sun T suan 149 Sun Yu-yiieh W M ® (399-489), 155 Sung C h ’i 5f=*|5 (998-1062),** 151-154 Sung H siang (996-1066), 151 Sung Po Sfcfi (936-1012), 122,153 Sung YU 22
Sung Yiian Swanson, 9
{fl. 1280), 114
T T a C h ’ung-kuang 196 Tai C hen JR® (1723-1777), 167,186 Tai Fu $&¥-, 70 Tai Piao-yUan (1244-1310), 3 Tai T ’ung JKfli {fl. 1241-1277), 169 Tai-tsung f t* ? (r. 762-779), 141 T ’an Cheng-pi f f l E f t , 185 T ’an Erh-yin jgfcKfW. 30 T ’an Ssu-t’ung HG0[rI (1865-1908), 5 T ang M, Captain, 161 T ’ang Hsien-tsu JgJgffl (1550-1616/17),* 19, 114 T ’ang Yin (1470-1523/24), 69,112, 196 T ’ang Y U -chaoJg^B a, 196 T a n g Ytteh #1% (fl 975), 123 T ’ang IS, King, 195 T ’ao C h ’ien p tjjf (365-427),* 23, 71,174 T ’ao Chen-pao 154 T ’ao H ung-ching R & f t (456-536),** 154, 156-157 T ’ao 1 MS®, 157 154 T ’ao Lung P6j|St, Marquis of Chin-an T ’ao Yu-tseng M f t f (1886-1927), 78 Tarum oto Teruo, 75 Te-tsung W m (r. 779-805), 141 T eng Chiu-kung 27, 28, 30 Teng, Je n n y Tu-li, 89 T eng Kuang-ming 84 T eng Pai-cho SEHffiJ, 34 T iH si-ch ’e n f t ^ ^ , 54-56 Ti ik. family, 54 T ie n -k u a n g T su n -c h e (A rh a t Lightning), 160 T ’ien H eng fflflt, the King o f C h’i W, 173 T ’ien Hsi (940-1003), 122 T ’ien Ling-tzu 113 Ting Fu-pao (1874-1952), 104,167 Ting I T « , 135 Ting I m 135 T in g jih -ch ’a n g T B S (1823-1882),63 T ing Sheng-chao T IE S !, 186
Ting T u T i t (990-1053), 168,170 T ing Yao-k’angTH fi/L (ca. 1599-ca. 1669), 53 T o T o t t (1314-1355), 66 Tolstoy, Leo, 76 Trigault, Nicolas (1577-1628), 171 T s’ai Yung I S ! (133-192),* 60,1 5 0 ,1 8 7 T s’an-liao-tzu # $ E -p , 13 Ts’ao C hih (192-232),* 10, 72, 104, 163, 174 T s’ao H sueh-ch’in (1715P-1763?),* 3 0 ,8 0 ,1 2 7 Ts’ao P’i W 2 (187-226),* 163 T s’ao S h e n f r # (d. 190 B.C.), 162 T s’ao Sung Wjffi, 162 Ts’ao T’eng WU, 162 T s’ao Ts’ao (155-220),** 162-163,174 T s’ao W en-chu 136 T seng I g & ( / i 1650), 186 T seng K’o-tuan WHOH (1900-?), 7 Tseng K ung # 3fE (1019-1083),* 182 Tseng F u & & (1872-1935),* 79,82 ( f l 1147), 84 Tseng Tsao Tso Ssu 2E® (ca. 253 -ca. 307),*, 71 Tsou Sheng-mai W SS®5, 33 Tsu-mu (Matriarch), 118 Tsui Hsi-hu Hsin-ytieh Chu-jen A (The M aster W ho Is D runk with the M oon in the M iddle o f W est Lake), 121 Ts’ui Chiu-wan 145 Ts’ui ChU MM, 142 Ts’ui C h ’tin (772-832), 142 T s’ui H u, 113 Ts’ui Pao W ti (fl 300), 173 Ts’ui Wei-tsu 97 T s’ui YUan-han (ca. 725-795), 87 T u Fu t t * (712-770),* 5, 6 , 46, 51, 59, 66 , 104,139,182 Tu Mu (803-852),* 1 5 ,1 6 ,1 5 3 ,1 8 2 T u W en-lan t t X i i (1815-1881), 36 T u Yu t t f t (735- 812), 106, 107 T uan F i-ti S E P (n.d.), 103 T uan YU-ts’ai WlS M (1735-1815), 167 T ung C ho (d. 192), 162, 163 T ung YUeh M M (1620-1686), 158 Tung-chiao Yeh-fii (Rustic o f Eastern Suburbs),
100
Tung-fang Shuo (154-93 B.C.), 73, 188 Tung-hai W u-liao-weng H JS H S T $$, 30 Tung-ling H sueh-tao-jen ^ SULPHA (Taoist Student o f the Eastern Peak), 53 T ’ung, Auntie f& H A A , 29 T ’ung Chi-chieh 54 Tzu-jan K ’uang-k’o (Purple-Bearded Crazy Man), 158 Tzu-tsai T sun-che (A rhat Free-andEasy), 160 V van der Sprenkel, O . B., 64 Verellen, Franciscus, 158 V erne, Ju les 76 W W aldersee, C ount (1832-1904), 79 W ang An-kuo (1028-1074), 182 W ang A n-shih (1021-1086),* 12, 13, 23, 43, 167, 181-82 W ang Chao-chttn, 101 W ang C hen £ # , 53 W ang Chi-te 3 E » S (d. 1623),* 18-20 W ang C h’i (fl. 1006-1016), 122 W ang Chiao-niang, 114-115 W ang C hien (452-489), 47 ,1 7 8 W ang Chih-teng (1535-1612), 128 W ang Ching-shu I l P j R , 185 W ang C h u f f s , 36 W ang ChUan 3i#S, 115 W ang C hung 8E4 1 (1743-1794), 98 W ang C hung-ch’i £ « « (1880- 1913), 78 W ang C h’ung (27-ca. 97/100),** 61, 124, 176-77 W ang, David D. W., 84 W ang Fei-pao 121 W ang Fu-chih 1 (1619-1692),* 52 W ang Hsi-chih £ # £ (321- 379), 149-150 W ang Hsien-ch’ien i & t * (1842-1918), 136 W ang H u (924-987), 100 W ang H ui 3 E « (1632-1717), 196 W ang I 3£Z., 181 W ang I %.& (ca. 89-158), 187 W ang I-sun I&fBB (1240- 1290),* 3
W a n g ju n g I S t (468-493),** 178-80 W ang Kuo-wei 3 E B H (1877-1927),* 44, 78, 79,175 W ang lin g (1032-1059),** 181-82 W ang M ang, 60 W ang M eng 3 E « (1301-1385), 196 W ang M eng-chi 158 W ang Pi 1 3 8 (226-249), 110 W ang Pi-chiang SEJjSfHf [W ang Kuo-ytian f i] (1887-1966), 6 W ang Pien 196 W ang Seng-ju (465-522), 45 W ang Shih-chen (1634-1711),* 6 W ang Shih-min 3EB#» (1590-1680), 196 W angSsu-jen I J g f f (1575-1646), 185 W ang T ao 1 3 * (276-339), 72,150 W ang Tao-k’un 128 W ang Ts’an 3EM (177-217),* 104,163 W ang T uan £ E * (1793-1839),** 184-85 W ang Tuan-shu (1620/21-ca. 1701),** 69,185-186 W ang T un (266-324), 72 W ang T ’ung I f i (584-617), 100 W ang Tzu-lan (1803-1824), 184 W ang W ei 5 E 0 (701-761),* 104, 197 W ang W ei I * (ca. 1600-ai. 1647), 109 W ang W en-fu 3 E X ^ , 62 W ang Yen-shou 3 E ® H (ca. 124-148),** 187 W ang Yin-chih £ 3 I £ (1766-1834), 170 W ang Ying-lin 3 E «g* (1223-1296),* 11,32 W ang Ytt-ch’e n g l & f l l (954-1001),* 12, 122, 123 W ang Yiian-i I M S , 115 W eaver M aiden, 133 see also Chih-nii W ei Ao 143 W ei C huang (ca. 836-910),* 175 W ei Chung-hsien gfc&J? (1568-1627), 113 W e i- f e n g « lt, 17 W ei H siu-jen (W ei T zu-an 86-p 3*, 1819-1874), 80 W ei # , M aster, 144 W ei Shu niM (d. 757), 105 W ei Y e h S S if (960-1019), 16 W ei Ying-wu M M M (737-ca. 792),* 145 W ei YUan 8 S?S (1794-1857), 6
W en-chao 17 W en j t , D uke o f the C hih (r. 636-628 B.C.),
11 W en 'X , E m peror o f th e Liu Sung 8)^5 (r. 424-453), 3 9 ,4 5 ,1 3 5 W en K ’ang (ca. 1798-1872), 26, 28-30, 81,190 W en T i e n - h s i a n g * ^ # (1236-1283), 49 W en Ting-yUn (ca. 812-870),* 175 W eng Fang-kang (1733-1818), 6 W idm er, Ellen 4 9 ,1 8 5 ,1 8 7 W ilhelm, H elm ut, 65 Wolff, Ernst, 68 W ong, Shirleen S., 86 W u Chien-jen JJIKfA (1866-1910),* 75, 79-80, 82 W u C h ih -k ’uei £ £ 3 1 , 5 0 W u Ching-tzu (1701-1754), 127 W u C hiung 66 W uC ho^ , 8 6 W u ChUn (469-520),* 45 W u, E m peror (r. 502-550), 156 W u a£, E m peror of the H an (r. 140-87 B.C.), 173,193 W u jt£, E m peror (r. 482-493), 178 W u j£ , E m peror of C h ’i JSP, 180 Wu E m peror (r. 265-290), 109 Wu 1 (sometimes given as W u Y ang £ # , 1612-1646), 50 W u M, King of, 160 W u Ling-yun 139 W u S a n - k u e i^ H t t (1612-1678), 115 W u S h a n ^ ti l, 186 W u Sheng-chao 50 W u Shih-ch’ang 44 W u Tao-m ing 34 W u Tsao J&aS, 140 W u Tse-t’ien 189 W u Tzu-hsU ffi-yW (d. 484 B.C.), 99 ,1 1 4 W u W en-ying £ * 3 1 {ca. 1200-ca. 1260),* 4 W u, Yenna, 58,162 W u YUan-chi £ 76 * (d. 817), 142 Y Y am ada Katum i L ilfflilll, 91
Y ang Ai 107 Yang, C. K., 120 Y ang C h’en-cheng $§ E l f , 34 Y ang Hsi 155, 156 Y ang H siung Wifflt (53 B.C.-A.D. 18},* 10, 60, 65, 7 3 ,9 0 ,9 1 ,1 0 2 , 166 Yang I feffi (974-1020/1), 153 Yang Shen (1488- 1559),* 36,91 Yang T ’ing-chih 43 Yang Tsung-hsuan 113 Yao H o M n (775-ca. 845), 16 Yao N ai W b (1732-1815), 48 Yeh C h ’ang-chih MSkM, 129 Yeh C h ’in-erh 113 Yeh, Michelle 60,134 Yeh Te-hui M W M (1864-1927), 129,130 Yellow Em peror, 23, 177 Yellow Turbans, 162 Y en Fu f t f t (1853-1921),* 75, 76, 78 Y en K’o-chtin * BjiSl (1762-1843), 41 Y en Ts’ai-p’ing, 46 Yen Yen-chih (384-456),* 173,180 Yen-pei Hsien-jen (P&dtlSslA, 30 Yin Empress (d. A.D. 64), 173 Yin H ao IS ® (305-356), 149 Yin K’eng (/Z. 560), 46 Yin Yao-fan 145 Ying Shao MSh (ca. 140-ca. 206), 173 Ying Yang ffgffl (d. 217), 163 YU H sin g i f t (513- 581),* 5 1 ,9 0 YU Liang (289-340), 149,150 Yu W an-ch’un (1794-1849), 81 Y U -chao^BS, 17 YUan C hen J c * (779- 831),* 122,124 YUan C hieh (719-772),* 11 YUan Hao-wen (1190-1257),* 15, 104 YUan H sien MM, 150 YUan H ung 40, 41 Yttan Hung-tao,* 127 YUan Ja n g H « , 173 YUan M ei 1 s t(1 7 1 6 -1 7 9 8 ),* 48, 184 YUan Shan-sung 40 YUeh Fei (1103-1141), 43 YUn H siang W[q] (1586-1655), 196 YUnJih-ch’u i f B ® , 195
Y ttn K o W te , 195 YUn Shou-p’ing i f Z Zottoli, P. Angelo 96
(1633-90),** 195-96
A “A fter the A rtistic Style o f Tzu chiu” tfj-f-X
m, 197 “A fter the Style o f Chii ja n ’s Painting ‘The Sound o f a M ountain Stream ,’” 197 “A i C hiang nan fu” (Lament for the South: A Prose poem), 51 Analects, 29 “A utum n M editations” (Ch’iu hsing %k$), 51 B “Ballad o f a Beautiful W om en” (Yen ko hsing
KSKfr), 51 Book o f Changes, 29,64 See also Classic o f Changes, Iching Book ofHistory, 64 See also Classic ofDocuments, Shu ching Book ofMusic, 64 Book o f Odes, 65 See also Book o f Poetry, Classic o fPoetry, Shih ching Book o fPoetry, 64 See also Classic o fPoetry, Shih ching
Chi tien chiian chuan
(The C om plete Biography o f M aster Crazy Chi; published in 1668), 158 Chi wai chi 85 Chi yiin K iH (Collected Rhymes), 168-169 “C h ’i chao” -fcS (Seven S um m o n s-see C h ’i -t**), 47 “C h ’i chao” -fcffi (Seven S u m m o n s-b y H ung Liang-chi), 11 “C h’i ch’i” -falSt (Seven Inspirations), 10 “C h’i chieh” -fcSfc (Seven W arnings), 11 “C h’i chien” -tISs (Seven Remonstrances), 10 Ch’i hsia wu i (Seven H eroes and Five Gallants; 1889), 189 “C h’i kuai” -fc;t£ (Seven Bizarre Things), 11 “C h’i kuan” " t i l (Seven Spectacles), 11 Ch’i lu teng,* 127 Ch’i liieh -fcSS (Seven Summaries), 64 “C h’i ming” -fctfp (Seven Counsels), 10 “C h’i pien” (Seven Debates), 10 “C h ’i pu ju ” ■fc'T'&l (Seven I A m N o Better Than), 11 “C h’i shu* -faj® (Seven Narrations), 11
C
Chia hsiian tz’u pien nien chien chu
Canterbury Tales, 161 Chan kuo ts’eWmW.,* 10,23,91
JI& 8 4 “Chiang fu” j l f f t (Yangtze River Rhapsody), 72 Chiang hu ch’i hsia chuan (Strange Knights o f the Rivers and Lakes), 190 “Chiang kao ch’u” (Melody of the River bank), 180 Chiao Hung chitSSffjSJ (The Tale of W ang Chiao niang U S S S an d Fei h u n g fRIlE), 114, 116 Chiao Hung chuan 114 “C hiao n an sh u o ” (Discourse on the Difficulty of M aking Friends), 89 Chieh (Chaste and Righteous), 176 Ch'iehyiln ft]Si (Tomic Rhymes), 168 Chien ching (Sword Scripture), 156 “C hien H sieh W en hsiieh li yeh shih” (Poem G iven to H sieh W en hsiieh (Hsieh T ’iao ftlJKfc (464-499)*]), 180 Chien liieh HHg (Simple Historical Examples), 33
“C h ’ang ko” j|S K (Long Songs), 174 Ch’ang shengpu ssu, 157 “C hao h un” (Summons o f the Soul), 1 1 “C hen chung chi” tfc+nB (A Record of [Events] within a Pillow), 145 Chen hsi MM , 157 Chen kao Ma& (Proclamations of the Perfected, 499), 156 Chen wen chi J f ( T h e C haste Poetess), 115-116 Cheng tzu t ’u n g 169 Cheng wu (The D uties o f G overnm ent), 176 “C h en g Y iian chuan” (Biography of C heng Yiian), 148 Chi chiu p ’irn (W ords in H aste; 2016 characters in 32 sections written in seven w ord couplets), 32 Chi su (Critique of the Vulgar), 176
Ch’ien tzu wen
(O ne thousand Character T ext; 1000 characters in 125 four word couplets), 3 2 ,3 3 ,9 6 Chih nan pao (News about Pleasure Quarters), 75 “Chih yin lun” i f M (Essay on Understanding Music), 179 Chih yii pu cheng j t f S t i l E (Supplements and Corrections o f Plain Language), 171 “C h ’ih yu ssu ch’ii shih wu fei p ’ien tuan ling” (Edict D irecting the Relevant Officials N ot to Reject Those w ith Partial Failings', 215), 164 “C hin chiu” (Prohibition of Spirits), 176
Chin kang poje p ’o lo mi ching M (T h e D ia m o n d S u tra; S anskrit: V ajracchedika prajna p&ramit& sfttra), 125 see also VajracchedikA Chin ku ch’i kuan (W onders of the Present and Past),* 6 2 ,9 6 “C hin ku yiian” (Golden Valley Park), 153 Chin kuei chieh (1824, a revised version o f Tsai shengyiian), 48 Chin P ’ing Mei £ 8 5 * 8 (The G olden Lotus),* 5 3 ,1 1 9 ,1 2 7 Chin p i ku shih (Golden Wall Tales), 35-36 “C hin se” #jSjg (The O rnam ented Zither), 153 Chin shang hua $ S ± ?£ (1813), 48 Chin shu WW, 7 , 8, 73,10 9 ,1 7 3
Chin tai hsia i ying hsiung chuan f t (A T ale o f Righteous H eroes o f O ur Age; 1923-1924), 190 “C hin w en” WFrJ (Asking about the Chin), 11 “C h ’in m eng chi” 3511?tE (Record of a D ream o f C h ’in), 145 “C h ’in tao” (The W ay of the Zither, also know n as “C h ’in ts’ao” [Principles of the Zither]), 61 Chinese Traditional Historiography, 64 Ching chi tsuan ku SffiSHHS (A ssem bled Exegeses o f Classical Texts), 170 “Ching chu tzu ching hsing fa m en sung” • p i P f r i i l ”!® (H ym ns on the D evotee’s
Entrance into the Pure Life), 179 “Ching chu tzu ching hsing fa m en ” fTfcfeF"! (A D evotee’s Entrance in the Pure life ), 180 Ching chuan shih tz’u H (Explanations o f W ords in the Classics and Chronicles), 170 Ching hsiian kuang mei ku shih (A Fine Selection of Yellow Eyebrow Stories), 34
Ching shih shih Ching tien shih wen
86
(Explanations of Term s in the Classics), 168 “C h’ing hsia chi” 1W0£n2 (Records of C hivalry in Love), 121 “C h ’ing li sheng te sung” (H ym n o n th e Sage V irtue o f th e C h ’ing li E ra [1041-1049]), 148 “C h ’ing lou m eng W [ T h e D ream o f th e G reen Cham ber, 1878]), 81 Ch’ingpo tsa chih fit 17 Ch’ing shih kaoflf& ffi, 6 4 ,6 7 “Chiu chang” A M (Nine Chapters), 110 “Chiu huai” A W (Nine Regrets), 10,111 “Chiu ko” A3K (Nine Songs), 11 1 “Chiu m in” A®! (Nine Laments), 110 Chiu seng shih (Poem s o f th e N in e Monks), 17 “Chiu t’an ” f t Ik (Nine Laments), 10 C hiu T ’ang shu W B 9 (Old T ’ang H istory), 4 4 ,6 4 ,6 6 ,1 0 6 ,1 5 2 Ch’iu feng yiian (Predestiny at C o n d o r Peak; 1679), 196 “C h ’iu h sien lin g ” (Edict S eek in g W orthies; 210), 164 Chou kuan M 'S, 193 “C h o u lin fu” f t f t R (R h ap so d y o n th e M elancholy C aused b y T orrential Rain),
110 Chou shih ming t ’ung chi
(Record o f M aster C hou’s C om m unications with the Beyond), 156 “C hu Fu je n chuan” 2
Chu Po lu chih chia ko yen (P ro v e rb ia l S ay in g s foT H o u se h o ld M anagem ent from C hu Po lu), 33
Chu tzu pien liieh
(Differentiating O utline of Auxiliary Graphs), 170 C h u tzu yii lei 147 “C hu Ying t’ai chin” 84 Ch’u Liu hsiang ch’uan ch’i series (T he L eg e n d o f C h ’u L iu h siang: 1968-1978)., 191 “C h ’u shui” §Si% (Collected Persuasions), 91 Ch’u tz ’ul&m,* 10- 11 , 7 3 ,1 1 0 -1 1 1 ,1 4 3 ,1 8 2 “C hii hsien w u chii p in hsing ling” (Edict o n N ot Being Bound by M oral Q ualities o r Behavior in R ecom m ending W orthies; 217), 164 Ch’U lii& » (Songrules),** 18 Chiian Chin shih 104 “C h ’iia n ch in Y iian ti p ia o ” S ijil 7C'$fi§ (M em orial U rging th e S uccession o f E m peror Yiian), 103
Ch’Uan Shang ku San tai Ch’in Han San kuo Liu , d '« B w £ ± # = ft* # H H A « : fc ,* 4 1 Ch’iian Tang shih, 88,142 Ch’ilan Tang wen, 87,88-89,106-107,141-142, 144,146
Ch’iian [Liu] Sung wen 41 Chuang Tzu tt"?,* * 2 0-25,159, 173 “C huang Tzu lun” (A Discourse on the Chuang Tz$, 23 “C h u an g Tzu tz’u t’ang chi” (A R ecord o f the M em orial Shrine of M aster Chuang), 23 “C hiieh chiao lun” £ 8 5 iH (Discourse on Sever ing Friendship), 99 Chiieh miao hao tz’u chien r n w m m (An A nnotated Best of the Best Lyrics), 84 Chiieh miao hao tz’u (Best o f the Best Lyrics; ca. 1290), 84 “C h ’iie h tu n g hsi m en hsin g ” (V ariation on the East an d W est Gates), 163 Ch’un ch’iu, 96 Chung ching yin 168 Chung ching (Books for the In n er Place Secretariat), 65 Chung kuo hsiao shuo shih liieh 4 1 (A B rief H istory o f C hinese Fiction, 1935),
Chung kuo li tai shu mu tsung lu 'f S S f l l 'f t # @ Ok (Com prehensive Booklists T h roughout C hina’s History), 67 “C hung kuo lun” 4*1311 (D iscourse o n th e Central Kingdom), 148
Chung kuo wen hsiiehfa chan shih (A H isto ry o f th e D e v e lo p m e n t o f Chinese Literature), 106 Chung wen ta tz’u tien (G reat D ictionary o f W ritten Chinese), 170 “Chung yeh” 182 Chung yUan yin yUn ' f U l f l l (S o u n d s a n d R hym es [i.e., Initials an d Finals] o f th e C entral Plains), 169 “C h ’u n g tie h ch in ” [Spring Regrets: T o the T une o f ‘L ay ered G old’], 59 “C h ’u n g tseng Lu C h ’en ” M m & m (“A gain Presented to Lu C h ’en,, 104 Classic o f Changes (I ching), 7 3 ,9 2 , 147 See also
Book o f Changes, I ching Classic of Documents (Shu ching), 92 S ee also Book o fHistory, Shu ching Classic of Poetry (Shih ching), 92 See also Book o fPoetry. Cursus litteraturae sinicae, 96 D
Dai Kan Wa jiten A 3S?□!?#!■ (G re a t Sino Japanese Dictionary), 170
Decameron, 161 Dream ofthe Red Chamber, see Hung lou meng
EyinyiianM ffliM (Bad M arriage D estinies), 53 Erh Hsii chi “ WIB (The Tale o f W u T zu hsii and Shen Pao h sii), 114,116 Erh Li ch’ang ho chi — 123 Erh nil ying hsiung chuan (A T ale o f Lovers and Heroes),** 2 6 ,3 1 ,8 1 , 190 Erh p ’o Z lf t, 3 7 ,6 2 Erh shih nien mu tu chih kuai hsien chuang —+ ^ !§ (Eyewitness R e p o rts on
S trange T hings from the Past T w enty Y ears, 1910); see W u W o yao,* 76-77, 79,82 Erh shih ssu shihp’in 44 “E rh tzu ch ’eng chou” | (Mao #44), 174 Erhyafy13® (Approaching Elegance), 73,166 Erhya ishuffim m ffi., 166 “E r h y a t ’u t s a ^ B M J f , 73 “Explanation of the Lam ents written in Hsiang, A n,”145
F “Fa lo tz’u" 179
(Songs of Religious Joy),
Fa yen & s , 65 Fan hsieh Shan fang chi
(The Collection of Fan hsieh M ountain Studio), 85 Fang chu Kuan yiieh fit (Lays o f the Square M oonlight W ater Scooper Lodge), 18 Fangyen'ftlS (Topolecticisms), 73,166 “Far Roam ing,” 71 Fen lien hsin yung (New Songs from the Pow der Case), 58 Feng shen pang 81 Feng shen yen (The Investiture of the Gods),* 189 Feng su t ’ung i J S fS S lil, 173 “Feng Y en chuan” 143,145 “Flounder, T he” ( t t g & ) , 73
Fo shuo ta fang kuang p ’u sa shih ti ching
n m w m + M M , 97 Four Books, 96 “Fu feng ko” ttS S K (Song o f Fu feng), 104 Fu ku pien { £ $ £ § (Com pilation for Returning to Antiquity), 167 “Fu niao fu” I I , l i ® (Rhapsody on An Owl),
22 Fu sheng liu chi M y Floating Life), 76
G “G host Grass” (&1P0, 73
(Six Sketches from
H Hai shang ch’i shu
(W onderbook o f Shanghai, 1892-94), 75 H ai shang h u a lieh chuan (Sing Song Girls o f Shanghai, 1894), 77 ,8 0 Hakusai shomoku @, 53 HanFei T z v & ftt, 23
Hanfei tz u $ $ 0 ^ , 91 Han lin ch’ou ch’ang eA »$& #api|$|, 123 “H an m o Lin ch ’i k en g ”$ £jg#-fc;jg (Seven Changes in the Forest of Brushes and Ink), 11 Han shu (H istory o f the Han),* 32, 40, 6 4 -6 5 ,1 3 4 ,1 6 6 ,1 9 2 -1 9 3 Han shu pu chu 136 Han shu tsuan m m in , .41 Han wen hsiieh shih kangyao (An Outline of Sinitic Literature), 25 Han yii ta tz’u (Great Dictionary of Sinitic), 170 “H ao li hsing” SSjjlfT (Artemesia Village), 163 “H ao li” K f i , 173-174 “Hao shih fu” #E±flS£ (Rhapsody on the Valiant Prince), 90 “H ardships o f Travelling,” 174 Hen h a m U (Sea of Regret, 1906), 80 Hengyen (Record of Com m on Speech), 171 “H o chiieh” (The Yellow R iver Burst) , 149 Ho tien (W hat Sort o f Book Is This?), 76 Ho tung Hsien sheng chi (The Collected W orks o f M aster H o tung), 101 Hou Han chi'&M&, 40-41 Hou Han nan chiW SiM S,, 40 Hou Han shu (History of the Later Han), 3 9 -4 1 ,6 1 ,6 7 , 129,134,136, 187 “H si chi fu” S f l f R (R hapsody E xpressing Gladness on the Cease of Rain), 110 Hsi hsiang chi* 128 Hsi ju erh mu tzu (An A id to the Eyes and Ears o f W estern Literati), 171 Hsiju erh mu tzu, 171 Hsi k’un ch’ou ch’ang c h i (Anthology
o f Poem s E xchanged in the H si k ’un Archives),* 12,123 “H si pei” H d t (The Northwest), 149 Hsi tzu chuan 193 “H si tzu chuan” (Biography of H si tzu), 144 H si yu chi HiSflG (Journey to the West),* 81, 189 Hsia Nei shih chi (The Collection o f Secretariat D irector Hsia, 1646-47), 51 “H sian g ch u n g yiian ch ieh ” (An E x planation o f the L am ents w ritten in Hsiang, 143 Hsiang shan pao chiian (The Precious Scroll o n Fragrant M ountain), 119 Hsiao E r h y a ^ (Abbreviated Approaching Elegance), 166 Hsiao erhyU ini fit (Verses for Children), 35 “H siao iu” lUiSS (Fu on Whisding), 8 Hsiao shuo hsien t ’an /J'tftlJfltifc (Idle Talks on Fiction), 77 Hsiao shuo tin 'h a # .# (F iction G ro v e, 1907-1908), 75 Hsiao shuo yiieh pao/l'WLft (All story Monthly, 1906-1908), 75 “H sieh lu hsing” jU S tfr (Dew o n the Shallot), 163 “Hsieh lu” M M (Dew on the Shallots), 173-174 “H sien k’o” (Guests from the Otherworld),
122
Hsin chi yiian Sf I S tc (New Era, 1908), 80 Hsin chUan chu shih ku shih pai mei (A nnotated Stories from W hite Eyebrows on Newly C ut W oodblocks), 34 Hsin Chung kuo wei lai chi (The Future o f N ew China), 78 “H sin Fa lo H sien sheng t’an” (New A ccount of Mr. W indbag, 1905), 80 Hsin hsiao shuo Hf/J'tji (N ew F ictio n , 1902-1906), 75, 78
Hsin k ’o lien tui pien meng ch’i pao ku shih ta ch’iian (a N ew ly P rin ted C o llection o f L iterary Couplets with Seven Treasuries of Stories for M ade Easy for Beginners; 20 chiian),
Hsin lunffiWa (New Treatise), 61 Hsin Shih t ’ou chi $fr5sR 12 (The N ew Story o f the Stone, 1905), 80,81
Hsin shu 64 Hsin T’ang shu
(New T ’ang H istory), 64, 66, 106, 145, 151 see also New T’ang
History “H sing lu n a n ” frl& H (The H ard sh ip s o f Travelling), 174 “H sing shen” (Body and Spirit), 61 (Marriage Hsing shih yin yiian chuan As Retribution, Awakening the World),** 53 Hsing ts’un (A Record of Being Lucky to H ave Survived), 50 Hsiu hsiang hsiao shuo (Illustrated Fiction, 1903-1906), 75 Hsiu hsien chi (A Collection o f Poem s W ritten during Pauses from Em broidery), 58 HsU chim m , 85 Hsu Erh nU ying hsiung chuan (A Sequel to T ender hearted Heroes), 31 Hsu Han shu M M * , 39-40 HsU Hsiao erh yU (M ore V erses for Children), 35 HsU Hsing ts’un lu 51 “H sii sh ih sh u o ” (C o n tin u in g the Discourse on Teachers), 101 Hsiieh shanfit A t/S ill JftSU (Flying Fox on Snowy M ountain; 1959, rev. 1974), 191 Hsiieh yaan&?&, 155 HsUn mengp’ien chii (Parallel V erses for Beginners), 36 HsUn meng shih pai shou (O ne h undred Poems for Beginners), 33, 35 Hu shang ts’ao#j0_L^, 108 Hua ch’ien i hsiao$M ~% (A Single Sm ile Before Flowers) ,1 1 2 Hua chien chi (Anthology M idst th e Flowers),* 175 Hua fang yiian'ftMffik (Flower b o at karma), 113 Hua yang kuo chih [Record of States South of M ount Hua], 135
Hua yang Tao yin chii chi, 157 Hua yang Tao Yin <M tui chuan V B 8 M 8 IIP 3 » , 157 Hua yang Yin chii Hsien sheng pen ch’i lu WffliM
157 Hua yiieh hen
(Traces o f Flower and
M oon, 1858), 80
Huai nan Tzu 22 Huan hsi yiian chia
I wen lei chii, 104 “I yin cheng chih hsiao shuo hsii” (Foreword to O u r Series o f Political Novels in Translation, 1898), 78 “Im m ortal by the River”, 134 “Introduction to C h’in Shao yu’s New Courtesy N am e” (“C h ’in Shao yu tzu hsii”
is (Antagonists in
Love),** 62
Huang chiang Tiao sou 1n.iL$]§l (The O ld M an W ho Fishes the D eserted River, identity otherwise unknown), 80 “H uang niao” jtJfe (Mao #131), 174 “H u n g hsing S hang shu” (Prime M inister of the R ed Apricot), 153
Hung hsiieh lou shih hsiian ch’u chi % (The First Collection o f the Pavilion of Geese an d Snow), 138
Hung lou meng jfiJfcW (D ream o f th e R ed Cham ber),* 26, 29, 30, 53, 76, 78, 80, 81, 114,127,190 Hung ming c h i 151 Huo shoo Hung lien Ssu (The Burning o f R ed Lotus M onastery; 1928), 190
I I ch'ieh ching yin i —
( The Sounds and M eanings o f All the Scriptures), 168-169
Ich’mhsiangchihW&m’R., 121 I ching M M , 96, 193 See also Book of Changes, Classic of Changes “I Fo ch i” (R ecord o f M oving the Buddha), 141 “I m eng lu” (Account o f D ream s o f the Extraordinary, 142,145 “I m in fu” & (Rhapsody on the Cultivated R ecluse), 110 “I niao lu ” fiJdS S (Account o f the Bird of Propriety, 146 / p ’ien ch’ing — M"IW (Expanse o f Passion or Expanse o f Love),** 63 I tung Un M M # , 73 “I w en chih” (Records o f Classical and O th er Literature),** 6 3 ,6 5 ,1 6 6 ,1 9 2
j “Ja n g hsien tzu m ing p en chih ling” (Edict R elinquishing Prefectures and E xplain ing M y Aims; 210 o r 211), 164 “J ih hsi w ang chiang shan tseng Yii Ssu m a ” (For A ssistant Yii, W ritten while Gazing at M ountains and Rivers in the Sunset), 47 Ju lin wai shih (The Scholars),* 53, 127
K ’a i meng yao hsiln
9H (Key A dvice for Beginners, in 1400 w ords o f four w ord couplets), 32 K’ang hsi tzu tie n M ^ ^ ^ (Character Dictionary of the K’ang hsi R eign Period), 169 “K ’u n g c h ’tteh tu n g n a n fei” (Southeast the Peacock Flies), 133 Kao seng chuan SSfflMI (Biographies o f E m inent Monks),* 151 “Ko che Y eh chi” (R ecord o f the Singer, Yeh), 142 “Ko sheng” « £ (Mao #124), 174 “K’o ao” (A Stranger Sneered), 72-73 Ku chin 173 Ku chin feng yao shih i (A Collection o f Rhym es and Lyrics, Past and Present, Previously Lost), 36 Ku chin ming chU ho hsiian (A Collective Selection o f Famous Plays from Past an d Present), 113-114 Ku chin ming chii ho hsiian, 113 Ku chin tao chien lu ~&*r73Mi!k (Register o f
Ancient and Recent Swords), 156 Ku chinyao (Rhymes and Proverbs, Past and Present), 36 Ku fo t'ien chen k’ao cheng Lung hua pao ching (The Precious Scripture on the Dragon Flower, as Verified by the Old Buddha of Heavenly Purity), 118 “Ku i shih” (Poem with Ancient Intent), 180 Ku liang chuanWtMM, 39 “Ku shih shih chiu shou” (Nineteen Ancient Poems),* 174 Kuyaoyen~£%H& (Old Rhymes and Proverbs), 36 “K’u han hsing” (Bitter Cold), 163 Kuan ch’ang hsien hsingchiW^MMSB (Exposure of Officialdom; see Li Pao chia*), 76 Kuan chang hsien hsing chi (1905), 79,82 “Kuang Chiieh chiao lun” (An Expanded Discourse on Severing Friendship), 99 Kuang Hsiian shih t’an tien chiang hi (An Honor Roll of Poets of the Kuang[ hsii] and Hsiian[ t’ung] Reigns), 6 Kuang i chi SfHiE (The Great Book of Marvels),** 70 Kuangya MW (Expanded Elegance), 166 Kuangyiin (Expanded Rhymes), 168-169 Kuei erh chi Jtifife, 84 K u e ik u tz u ft,® ? , 156 “Kuei t’ien fu” MJESISt (Rhapsody on Returning to the Fields), 110 Kuo hsiieh liieh shuo tt, 64 Kuo shih £B& (History of the State, completed 759-760), 105 “Kuo Wei tung chiao shih” (Poem on Passing the Eastern Suburbs of Wei), 147 124
L Lan hsiieh chiWWQk (Orchids and Snow), 115 “Land of the Long Armed People, The” (61If ffl),73
Lao Ts’an yu chi (The Travels of Lao Ts’an, 1906; see also Liu E*), 77, 79, 82 Lao tzuJZ^, 91,110 Leip’ienMM (Classified Leaves), 169 Lei yiian H2S (The Garden of Diverse Topics), 98 Li chimm, 96,173,192 Lipu yiin liieh (An Outline of Rhymes from the Bureau of Rites), 170 “Li sao” U S (Encountering Sorrow), 71,110 Li shih chen hsien t’i tao t ’ung chien 157 Li tai meng ch’iu (Beginner’s Guide to History, from the Yiian), 33 “Li Wa chuan” mM H9 (An Account of Li Wa), 174 Li weng tui yiin (Li weng’s Book of Rhymes and Couplets; attributed to Li Yii’s m m [1611-1680]*), 36 “Li Yiieh hsien ko ai chiu fu” (Li YUeh hsien Gives Up What She Treasures to Save Her Husband), 62 Liang Mao shan Chen po hsien sheng chuan lijjl , 157 Liang sh u m m , 157 Liao chai chih i l f S i * (Strange Stories from the Leisure Studio), 30,37 Liao shih shih i JSSifn j# (Supplements to the History of the Liao), 85 Lieh ch’ao shih chi3\%&Wf%k, 108-109 Lieh hsien c h u a n ? 73 Lien mien tzu tien (Dictionary of Bisyllabic Terms), 171 “Lin chiang hsien” SSffflll (Immortal by the River), 132 Literary Inquisition ofCh’ien lung, The, 67 Liu hsing, hu tieh, chien gftji ' ' $J (Falling Star, Butterfly, Sword; 1973), 191 “UuIchuan” #P&1*, 143 Liu i shih hua Liu shu ku (Instantiations of the Six Categories of Graphs), 169 Liu shu l&eh (Outline of the Six Categories of Graphs), 169 “Lo hua” (Fallen Flowers), 153
Lii ch’uang hsin hua
(New Tales from the G reen Window), 143 “Lu Ling kuang Tien fu” (Rhapsody on the H all o f Num inous Brilliance in Lu), 187 Lu ting chiMjl^sE (The D eer and the Cauldron; 196972, rev. 1981), 191 “Lu w ei che y en ” (Record o f the W ords of a H um ble Person), 148 Lii mu tan ch’iian chuan (The C om plete Tale o f the G reen Peony; 1800), 189 Lii shih ch’un ch’iu 2 2 ,2 3 ,1 9 3 Lun tung I t Hr (Balanced Treatise) See also W ang C h ’ung S.%** (27-ca. 97), 61,176 “Lun hsiao shuo yii ch’u n chih chih kuan hsi” (O n the R elation betw een Fiction and R uling the Public), 78 Lung hu tou ching hua (Dragon and Tiger Vie in the Capital), 190 Lung k ’an shou chien f U f e ^ iE (Hand m irror for the D ragon Niche; preface 997), 169 L ung w en pien ying M3t.Wi.96 (Fine Historical Texts for Q uick Mastery), 33, 34 M “M an t’ing fang” Mao shan chih ill
15 157
Mei hua hsi shen p ’u
(The Plum: A Portrait A lbum, 1261), 128 Mencius, 23 Meng ch’iu (Beginner’s Guide), 33 “M eng fu” (Rhapsody on a Nightmare), 187 “M eng huang” (I D ream ed o f Locusts, 182 Mengyang ku shihM%kt&M (Inspiring Precedents for th e R aising o f C h ild re n ; W an li [1573-1619] era), 34 Meng yang ku shih M&t&M (Stories to Nourish Beginners), 33
Ming San shih chia shih hsiian (Selected Poems of Thirty Ming Poets), 184 (History of the Ming), 6 4 ,6 7
Ming shih 00
Ming tao tsa chih
(Clarifying the T ao
Miscellany), 1
Ming wu meng ch’i
u (Beginner’s G uide to N am es and Things), 33 Ming yiian shih hua 4S4SiRFfS (Poetry T alk on N otable W om en), 139-140 Mingyttan shih w e i (Classics o f Poetry by Famous W om en), 186 “Miscellanies o f the Southern C apital” (Nan tu tsa c h ij$ « S H iE ),5 1 Mo tzu S t? , 91 “M onograph on Ritual,” 173 “M oonlit Night at Ling yin Tem ple, A ” R E S #
n £,85 Mu T’ien tzu chuan^^krf-% .* 73 Mu tan t’ing 114 N “N an hsiang tzu: C h ’un ch’ing” ffiM -F ■ (Spring M ood: T o the T u n e o f ‘Southern H om etow n’), 59 “N an k ’o T ’ai sh o u c h u a n ” (A ccount o f th e G o v ern o r o f Southern Branch), 145 Nan kuan ts’ao (A Prisoner’s Weeds), 51 “N an Lo shen fu” (Fu o n th e M ale G od o f River Lo), 108 N a n sh ih ^^., 157 Nan Sung hua yiian lu (A H istory o f the [Imperial] Painting A cadem y o f the Southern Sung), 85 Nan Sung tsa shih shih (Poems on Miscellaneous Events o f the Southern Sung Dynasty), 86 Nan tz’u cheng yiin S illI E ® (Standard rhym es for southern songs), 18 New T’ang History, 152 see also Hsin T’ang shu “Ni lien chu” SiSlifc (Im itating the “Strung Pearls”), 90 N ieh hai h u a (A Flower in the Sea of Sins, 1905), 79,82 “N ineteen A ncient Poem s”, 111 see also “Ku shih shih chiu shou” “Niu tse Chi yu” (The O x Reprimands C hi yu), 110
Nil chuang yttan ^Cltf Tt (The F em ale T op Graduate), 116
Nil hsiao erh yii
(Verses for Girls), 35
O One Thousand and One Nights, The, 161 “O utline o f the Southern Capital, A n” (Nan tu ta liieh 51
P Pa tuan chinAWiffi, 63 Pai chia hsing (O ne-hundred Surnames), 32
Pai fa mo nil chuan
(The W hite haired Demoness, 1957-1958), 190 Pai kuan chieh tz’u S 'S ® # , 41 Pai yiieh t’ing (Moon-worship Pavilion, 19 P’ai an ching cA’ittSSgJjfc^rf, 30 Pan Piao, Pan Ku, and the Han History, 64 “Pei fa” M S. (Provisions in the T im e of Want), 176 Pei shih 91 Pei t ’ang shu ch’aoik$£M $, 128 “Pei yu lien ch u ” (“Strung Pearls” while Imprisoned), 90 Pei wen shih y U n (Poetic Rhym es from the Studio o f Pendant Literature), 170 Pei wenyiinjuffiXW iffi (Rhyme Treasury from the Studio o f P en d an t L iterature), 96, 169-170 “Pen kuan fu yin shuo pu yiian ch’i” (A nnouncing O u r Intention to Publish a Supplem entary Fiction Section, 1897), 78 Pen shih shih (The O riginal Incidents o f Poems), 113 Pen ts’ao ching chi chu (Collected Com m entaries to the Pharmacopoeia), 156 P ’eng kung an % 'h% (Cases o f L ord P’eng; 1892), 189 “Pi hsien li” & M U (The Officials o f T hat County), 149 Pi m u y tik t^ fk (Soul mates), 186 P’i p ’ai chi f f i g f e (The Lute), 19
“Piao i che Kuo C h ’ang” (In Praise of the M edical Practitioner Kuo C h ’ang), 144 “Piao Liu H sun lan ” 4 M M (In Praise o f Liu Hsiin lan, 142 Pieh /» £ !]$ (Separate Records), 64,192 Pien Ch’iT rtH ! (The R e n Canal), 149 “Pien chou ch’uan hsing fu an p ’ang so chien” (D epicting W h at I See Along the Shore from a M oving Boat at Pien chou), 142 Pien erh cA’a i# ffn £ ? (W earing a Cap But Also Hairpins),** 121 “Pien m ing lu n ” (Discourse on Fate), 99 P ’ien tzu lei pien ffilS (C lassified Com pilation o f Yoked Graphs), 170 P’in hua pao chien ShlfcHfii (A Precious M irror fo rju d g in g Flowers, 1849), 7 6 ,8 0 ,8 1 P’ing yen Chi kung chuan (The Storyteller’s Tale of Lord Chi; 1898), 189 Po hsiieh Hung tz’u (Vast E rudition and G rand Exposition, designed to assist in the p lacem en t o f re c e n t ch ih sh ih graduates), 88 Po wu chih 187 “Pu ch’u Hsia m en hsing” 'T'fcBXHfT (Striding out the H sia Gate), 163 “Pu chti” (Divining a Place to Live), 183 “Pu w ang H sien sheng c h u a n ” (Biography o f Mr. Fill in the Gaps), 101 Pu wangp ’ien t f t ® ? (Pieces to Fill in the Gaps),
100-101
R “Record of M oving the Buddha”, 145 “Rhapsody o n th e H all of N um inous Brilliance in Lu,” 187
Rhymed Repository o f Girded Literature (P’ei wen yiin fu 94 see also P’ei wen yiin/u S “Sai shang ch’ii” S - h t t (Song from the Border),
101
San hsia wu i
(Three Knights Errant an d Five Sworn Brothers, 1879),* 77, 80, 189 San kuo chih = i i £ , * * 8 5,13 4 -1 3 5 ,1 6 2 San kuo chih chi chieh H B & M V , 136 San kuo chih yen i H 8 I;£$f& ,* 96,125 San, Ssu Hsii ELV3M (Third and Fourth Sequels), 62 San tzu ching (T he T h re e character Classic), 32 San yen Ei 3 , 36,62 “San yiieh san jih C h ’ii shui shih hsii” B (P refac e to th e P oem s C o m p o sed at th e W inding W aterw ay G athering on the T hird D ay o f the T hird Month), 180 “Seven Spectacles,” 11 “Seven Stimuli,” 10 “Shan chii chih” li|f§;£C (Record on Dwelling in the M ountains), 99 “Shan chii fii” (Rhapsody on Dwelling in the Mountains), 99 “Shan hai ching t’u tsan” lilJSMffiHlf, 73 Shan hai ching ll|$ 5 S ,* 73 “Shan tsai hsing” (Excellent Oh!), 163
Shang ch’ing ming t ’ang yttan chen fie., Hsiian chen] ching chUeh ± ? f 157
Shang ch’ing wo chung c h U
e h 157 “Shang C hia P’u yeh shu” (Letter to Vice D irector of the D epartm ent o f State Chia), 88 “Shang lin fu ” ± l* !& , 73 Shangyii ch’ang ho ch iM ^W fo fk, 123 “Shao H sia tzu chin t’ing yin sheng” BGBS-fjfi I S S - S (The B lindm an H sia from N ear b y Listens to the Sounds of Lasdvity), 63 “Shao nien tzu” (The Row dy Youth), 180 Shen hsien chuanW &fa* 73 Shenpao^m . (1872- 1949), 75 Shen tiao hsia lii W M ifciS (The G iant Eagle and its Com panion; 1959, rev. 1967), 191 Sheng lii ch’i meng (Introduction to Rhym es and Phonetics), 36
Sheng Ming tsa chii, 113 Sheng t’ung shih
(Poem s b y a C h ild Prodigy), 36 Shih ch’i shih + - b 5& (Seventeen [Dynastic] Histories), 125 Shih eAijfeffi (Records o f the G rand Historian),* 2 1 ,4 0 ,1 3 4 ,1 5 9 ,1 8 9 Shih chien chieh yao pien tu £!8lft51?{sf!§K (A H an d y R eader of H istorical E xam ples in O utline Form; 16,000 characters), 34 Shih ching &&,* 96, 100, 111, 174, 182, 193 see also Classic o f Poetry, Book o f Poetry “Shih i yiieh shih ssu yeh fa N an ch ’ang yiieh chiang chou hsing, Ssu shou chih erh ” -f-
• e g m £ -,6 Shih kung anM£;9fc (Cases o f Lord Shih; preface dated 1798), 189 “Shih lun” K U (Treatise on the Truth), 176-177 “Shih M an ch’ing shih chi hsii” (Preface to th e Poetry C ollection o f Shih M an ch’ing), 148 Shih mingf&%, (Explanations of Term s), 168 Shihp’in (An Evaluation o f Poetry),* 41, 6 5 ,1 0 4 ,1 1 0 -1 1 1 ,1 5 0 ,1 7 9 Shih shuo hsin yU (New A ccount o f Tales o f the W orld), 4 0 ,9 8 ,1 5 0 ,1 7 3 “Shih shuo” fiP!# (Discourse on Teachers), 101 Shih t ’ou chi 80, see also Hung lou meng Shih t’u n g (Generalities on History), 41 Shdsetsujiuifrl& ^m , 62-63 Shuchingmm, 96,100 see also Book o fDocuments,
Classic o f Documents “Shu H an T u i chih chih chuan hou” flISt: (Postscript on the Biography o f H an T u i chih), 2
Shu shan chien hsia chuan (Swordsmen of the M ountains of Shu), 190 (A C om m entary to th e Classic o f W ater ways),* 187 Shui hu chuan frffim ,* 6 ,7 6 ,1 2 5 ,1 2 8 ,1 8 9 Shuo wen chieh tzu (Explanations o f Simple and C om pound Graphs), 167,169 Shuo wen (chieh tzu) chu 1? ) & . 167 Shuo wen chieh tzu ku 167 Shuo ytiantRM, 193
Shui ching chu
“Song of Fu feng,” 104 “Song o f Falling Blossoms and Sporting Fish, a” 197 Sou shen chi 8 1 # IB (In S earc h o f the Supernatural),* 173 Spring and Autumn Annals, 64 see also Ch’un
ch’iu “Spring M editations” (Ch’un hsing # # § ), 51 Ssu k ’u ch’iian shu tsung mu E 3 J # ^ # f t g , 84-86 Ssu k ’u ch’iian shu tsung mu t ’i yao ft @
t t S , 104 “Ssu K ung tzu” 180
(Thinking of My Lord),
Ssu li t ’ao shengttW.t&Q. (Escape from Death), 113
Ssu pu yao liieh
(The Essential Com pendium of the Four Categories), 179 “Sui ch’u fu” f l u f f s (Rhapsody on Fulfilling M y O riginal Resolve), 149 Sui chung ching mu lu g $&, 66 Sui shu |5ff# (History of the Sui), 64,66,156-157, 187,193 “Sung C h’ing chuan” (Biography of [the Druggist] Sung C h’ing), 144 Sung shih chi shih^W ^dM (Recorded Occasions in Sung Poetry), 84 Sung shu 39 Sung shu ^ 5 (History of the Sung), 64,66 T “T a ai fu” ASilft (The G reat Lam entation: A Prose poem), 51 “T a chao” A J8 (The G reat Summons), 11 “[Ta] C huang lun" [jffi]l£ti( (A Discourse on [Summing up] the C huang Tzu), 23 “T a hsii” AFF- (Great Preface), 193 Ta ju lun A ffiiit (On the G reat Confucian [s]), 176 “T a Lu C h ’en ” g f c i S (Reply to Lu C h ’en), 104 Tai ju chi [A Substitute for M other’s Milk], 51 “T ai W ang C hao chiin hsieh H an ti shu” f t I (M em orial W ritten for W ang C hao ch’un T aking Leave o f the
H an Emperor), 101
T aip 'ing kuang chi A ¥Sf sfi,* 70 T ai p ’ingyii la n ± ¥ fflH ,’ 156 “T ’ai shan Liang fu ko” (Chants of Liang fu at M ount T ’ai), 174 “T ’ai shan yin” ’Selling (M ount T ’ai Chants), 174 T’ai shang ch’ih wen tung shen san lu A - L ^ X M » = « , 157 Tangk'ouchihMyOfc* (Quell the Bandits, 1853), 76,81
Tan chi MM, 61 T ’an huan pao
(R e trib u tio n o f Concupiscence), 62 Tang chien IS Hi (The T ’ang as a M irror), 148 Tang chihyenMWM, 87 Tangjen hsiao shuo, 142-143,145 T ’ang shih chi shih /jSSfffi#* (R ecorded Occasions in T ’ang Poetry), 84-85 Tang shih hua p ’u 126 T’ang shih san pai shou JS I#H W 1f* (Three hundred Poems of the T ’ang), 33 ,3 5
T’ang shu Ching chi I wen ho chih
in ;£, 66 Tang Sung ch’uan ch’i chi 144 Tang yiin JjtH (T’ang Rhymes), 168 “Tao hsien lu n ” M l? Ml (Discourse on M onks and Worthies), 151 Tao Te ChingfHiW;S., 22 see also Lao tzu “T ao w ang shih” (Poems Lam enting the Departed), 174 T’ao hua jen mien ^ T E A ffi (Peach Blossoms and a L ady’s Cheeks; included in Shen T ’ai’s Sheng Ming tsa chii of 1629), 113 Tao yiian san fang (Three Visits to Peach Fountain; included in his Ku chin ming chii ho hsiian of 1633), 113 Teng chen yin chiieh (The Esoteric Instructions for Ascent to Perfection), 155, 157 Teng hsi tzu 91 T i hsiao yin yiian 31 “T’ien Ti fu” (Fu on H eaven and Earth),
8
“T ’ien w en” ^ fn j (Heavenly Questions), 71
T im yu ko chi Toup’eng hsien hua
68
(Idle Talk U nder the Bean Arbor),** 158,159,161 “Tripod, T he,” OR), 73 Ts’an T ’ang tsai ch’uang (The Restoration o f the T ’ang), 113 Ts’ang shu chi shih shih IfcfcifcK W , 129 “T s’ui H u yeh chiang” (Ts’ui H u Asks for Refreshment), 113 “T s’ui Shen ssu” t t « S , 30 Ts’ung shu Lou (The Loft o f Collectanea), 85 Tsai hsii Erh nil ying hsiung chuan [Another Sequel to T ender hearted Heroes], 31 Tsai shengyiianW ±& (1821), 48,185 Tsai tsao t’ien W i13^ (preface 1826, pub. 1828), 48 “T se su ts’an ” KSfcfif (Criticizing T hose W ho Live O ff Others), 148 “T seng H sia T ’ung tzu T u an ko” S t * * ? ! ® I f (Sent to the Child H sia Tuan ko), 50 Tseng hsiu Yiin tin ssu 85 “Tseng Li Kuan” df (Presented to Li Kuan),
Tung p ’o yiieh fit 43 “T ung wu yin” (Tung wu Chants), 174 “T ’ung J u Tao shuo” flM S ta # (Discourse o n the C om patibility o f C onfucianism a n d Taoism), 89 Tung ko yang cheng jftiE (Children’s Songs for M oral Rectification), 35 T ’ung su pien (C o m p ila tio n o f Popularisms), 170 Tzu chih t ’ung chien 136 “Tzu hsii fu” 73 “Tzu hsii” (=3 (Autographical Essay), 98 Tzu h u i^ffc (Lexicon), 169 Tzu jan Hao hsUeh Chai chi 184-185
Tzu shuo ^ ffii (Explanations o f Graphs), 167 Tz’u lin cheng yUn |n|#IESS (C orrect R hym es from the G rove o f Lyric Meters), 169 t ’ung $3 ( In te r c h a n g e a b le O rthographies), 171 Tz'uyiianm m , 4
T z’u
V
Vajracchedika (Chin kang ching
o r the D iam ond Sutra), 55 see also Chin kang po
88 Tso chuan
9 1 ,9 6 ,1 2 4 ,1 5 9 ,1 7 3 “Tsui hsiang ch’u n ” 15 “T u C hap shu” K f g t f (W ritten on R eading an Lmperial Edict), 149 “T u Shih A n je n hsiieh shih shih” ± f # (Reading the Poem s o f Scholar Shih A n jen), 148 “T uan ko hsing” (Short Song), 163 “T u an ko” J f if t (Short Songs), 174 Tung ch’eng tsa chi JK $$i(i5 (M iscellanies o f the Eastern City), 85 “T u n g ch iao Y eh fu c h u a n ” (Biography o f the R ustic Fellow in the Eastern Suburbs), 101
runghaiytikonam m w , 68 Tung hsiian ling pao chen ling wei yeh t’u
* « * & * ■ , 155 Tung kuan Han chi SUflgSSiE, 40 Tung meng hsii chih MWM9Q (Essential Knowledge for School Children), 33
je p ’o lo mi ching
w
Waitingfor the Unicom, 6 Wan Qi’ing hsiao shuo shihifaffi/}'$l!£. (A History
o f Late C h ’ing Fiction, 1937), 77 “W an ko shih” t t f t t t , 174 “W ang hsien fu” HflljfK (Fu o n G azing after Immortals), 61 Wang Ling chi, 182-183 “W ang sun fu” ZEBfcifit (Rhapsody on an Ape), 187 Wang Yen shou ch’iian, chUEMM^tyk (Collected W orks o f W ang Yen shou), 187 “W ei H eng shan H ou yii fu shu” ( a L etter to M arquis H en g sh an ’s Wife o n behalf o f the Marquis), 47 Wei Shih i niang%-\— Jft, 30 Wen hsin tiao lung S^iL'JHHi,* 8 -1 0 , 91, 103, 111, 150,194
mm
Wen hsUan X M * 8, 41, 95, 98, 103-104, 125,
the W aterhole by the G reat Wall), 60
150,1 8 0 ,1 8 7 ,1 2 5 , 170 “W en hsiieh kai liang ch’u i” (A Proposal o f Literary Reform, 1917), 77 Wen ming hsiao shih (M odem Times, 1905), 79 “W ritten Following R ain at the Lake after the Fifteenth of the Seventh M onth”
Yin yiian ch’i chmnif&ffitffifc (A Strange Account
1 1 1 1 ^ ,8 6 “W u M ountain Is H igh: A Song” £ lilS 5 f t, 197 Wu pu liu ts’e EbB/nTO (Five Books in Six Volumes), 118 Wu sao chi (A Collection o f Songs from W u [i.e., fcV], 1614), 128 Wu tzu chien (Historical Exam ples in Five w ord [Phrases]), 33 Wu wei chiao (Religion o f N on action), 118 Wuyin T s'a o ftn W , 108 Y
Yang hsing shu
(The N ourishm ent of the Inner Nature), 176 Yang hsing yen ming lu & & & & & , 157 “Y eh Fu tzu M iao w en” (O n Visiting the Confucian Tem ple), 87 Yeh shih S F ( U n o f f ic ia l History), 100-101 Yeh sou p ’u yen (An O ld Rustic’s Idle Talk), 127 Yeh yii ch’iu teng lu (Writings D one on Rainy Nights under the A utum n Lamp, 1895), 75 “Y en chung chih chih” 143
Y en erh n u m ftM , 112 “Y en lie n c h u ” ifcSlifc (S tru n g P earls E xpanded-see Lien chif*), 8 9 ,9 8 “Y en t’i lien chu” S fefH S ft (“Strung Pearls” in A m orous Style), 90 Yen t ’ieh lun (Discourses on Salt and Iron), 91 Yin hung chi (C ollected Fem ale Chantings), 186 “Y in m a C h ’ang ch’eng k’u hang” fT (Lines on Letting My H orse D rink at
of M arriage Destinies), 53 “Yin Yueh chih” 193
Ying hsiung ch’eng pai
(Success and Failure o f Heroes), 113-114 Ying huan so chi M & M ui (Random Sketches of the W orld), 75 “Y ingtse” J fiJt (Response to Criticism), 102 Yii ch’uan yUan 48 Yii chuffls#] (Language Auxiliaries), 170 YUfan chi (Collection from the Studio o f Ja d e G irth, 1644-45), 51 Yu hsipaoMtttffl. (News about Recreation), 75 “Yu hsien shih” jffiflljt# (Poems o f Roam ing in the Immortal), 72 Yu hsiieh hsii chihifiQffift} (Essential Knowledge for Elementary Learning; 33 chiian), 33-34 Yu hsiieh ku shih ch’iung lin jfalP S feJp J# # (A C o lle c tio n o f V a lu a b le S to ries fo r Elem entary Learning), 33 Yu hsUeh ku shih ch’iung lin (A Fine G ard en o f Inspiring P recedents for Young Students; 4 chiian), 34 “Yu je n fu” 139AK£ (Rhapsody o n the H idden Man), 110 “Yii lou ch’un” (Springtime in the Ja d e Loft), 153 YUp ’ien 3S.M (Jade Leaves), 169 “Yu T ’ien p ’in g S h an ch i” (A Record of Travelling on Plain o f H eaven Mountain), 101 “Yii tao lun" (Discourse Elucidating the Way), 150 “Yu T ien t’ai shan fu” (Rhapsody o n R o a m in g th e C e le stia l T e rra c e M ountains), 150 “Yii T uan P i ti m eng wen” (Oath with T uan P’i ti, 103 Yii yen pao 140 Yiian Ming i shih (Lost H istory o f the Yiian and Ming), 185 Yiian yang hu tieh (M andarin Ducks and Butter flies), 80 “YUan yu” i t j g , 71
Yiieh ch’iti chih mm lift
S t r i f e (Moon Colony, 1904), 80 Yiieh chi IE (Record of Music),** 192-194 YUeh ching (Classic of Music), 60 see also
Classic c f Music YUeh fit shih chi
(Collection of Music Bureau Poems),* 104 Yiieh fu ya tz’u (Elegant Songs from the Music Bureau), 84 “YUeh lun" ^ a § (Essay on Music), 193 “YUeh shih shih” M (Eclipse of the Moon), 182 Yiiehyiian ch’i (Origins of Music), 61 “Ytin fu” S R (Fu on Clouds), 8 Yttn haiyii kung yUan SflS3£^i!& (The Ja d e Bow from the Sea of Clouds; 1961-1963), 190 Yung ch’ing shengp’ing ch’iian chuan iikSEfHPIfe •pH (The Com plete Tale of the Everlasting Blessings of Peace; 1892), 189 Yung lo ta tien 67
A A cadem ia Sinica w eb site, 136 advanced placem ent exam ination, 144 alb u m s-alb u m -an th o lo g ies, 126; album s of illustrations, 128 allegory, 2 3 ,5 5 ,5 6 ,1 4 6 ,1 5 5 ,1 5 6 allusions, 3 ,8 6 ,1 3 3 -1 3 4 ,1 4 3 ancient style poetry (ku-shih ^ t # ) , 148 “ancient-style prose m ovem ent”- s e e Ku-wen
yUn-teng^ScMWi anthology o f M ing poetry, 108 anti-M anchu sentim ent, 112,196 artists, 195, 196 audiences, discerning and sophisticated, 128 autobiography, 76,98
B b ack g ro u n d n a rra to r (see also “foreground narrator”), 161 ballads, 182 biographers, 154 biographies, 2 ,1 5 3 , 159; o f the Perfected, 155; idealized, 144 block printing Buddhist charms, 125; as a means to standardize the C onfucian texts, 125; process of, 125 book collecting, 129 b oo k illustrations, 128 b oo k printing-see “printing” bookbinding, 129 bookshops in the H an capital, Lo-yang, 124 Bodhisattvas, 117 Buddhas, 117 B uddhism , scriptures 117; “th ree b an n e rs” (form, em ptiness, contem plation) of, 150; patrons of, 156 C calligraphy, 128, 195 “can on” o f traditional Chinese literature, 95 censorship, 67,161 ch'an-miWM prognostication texts, 60,177 C h ’ang-chou tz’u-p’ai 44 characterization, 56 Che-hsi tz’u-p’ai (W estern Chekiang
School of Lyrics),* 44 ,8 5 Chekiang School, 85 chengiE, 129 cheng-shihsESl, “official” or “standard histories,” 64,134 chi chuan (annals and biographies) form at originated by Ssu-ma C h ’ien, 135 chi%S (annals), 135 chi%& (records), 101 cA’i-fc (sevens),** 9-11,47,91 Chiang-hsi shih-p’ai (jXgSt&i®), 5 chiang-t’i tzu E S # ^ (craftsm an) style o f characters, 128 chiehQS (gatha), 117 Chien-an literature, 163; poetic innovations in, 163 chih-jenlfcA, 124 chih-kuai (records o f anomalies),* 23, 70, 124,189 children’s literature-see Erh-t’ung wen-hsiieh** children’s songs, 35 ,3 6 chin-shih exam inations, 1, 5, 13, 88, 100, 141, 147, 181; Sung C h ’i y ielding to e ld e r brother in, 151; sponsors for, 141 chin-t’i shih^MW (recent-style verse), 174 Chinese characters, traditional analysis of, 167 chingM. (scripture), 117 chitig-cfu-chuangM¥8$k (sutra-binding), 129 Ching-chi chih 66 (see also I-wen chih**) Ching-ling pa-yu fERSAife (Eight Friends of Pa-ling), 179 Chiu-seng f’i f t 'f i f l l (Nine M onks Style),** 16 Chu-lin ch’i-hsien t W ' t R (Seven W orthies of the Bamboo Grove), 151 chii-jen^X exam ination, 84 ch’ii f t (arias),* 18-20,84,169 ch’il-p'ai&tft, 117 chuan (biographies), 101,106 ch’uan-ch’i (romances), 19, 62, 114, 126, 196; literati plays in ,127 ch’uan-ch’i (tales),* 18,23, 112, 116, 142, 144, 189; tied to politics an d political expression, 146; as first consciously created fiction in C hina, 146 chileh-chil 35, 36,47
circulation of literary materials, 124 civil-service exam ination, 153, 196; demise of in 1905, 95 (see a lso ‘‘chin-shih exam inations”) collective biographies, 40 com m entary, 98,1 3 5 ,1 5 6 , 166-167 Confucian Classics, 102; exegesis of, 11 Confucian schools (provincial level), 39 Cultural Revolution, 7; and publishing, 164 current-prose style-see shih-wm
female poets—see “women poets” foreground n arrato r (see also “b ac k g ro u n d narrator”), 161 four great novels o f the late C h’ing, 79 frame-story, 158 fu m (rhapsody),* 8-10, 13, 22, 51, 61, 65, 72, 90, 91, 96, 98, 99, 110, 149, 150, .176, 187-188,90 Fu-ch’un T 'ang 126 fii-ku (returning to antiquity), 87, 89
D
G
detective fiction, 75, 80 dialects, 53 dictionaries, 94,166-170; for reading Buddhist te x ts , 168; o f fo re ig n la n g u ag e s (M ongolian, M anchu, T ibetan, Uighur), 165; finding systems in, 166; m ost influence C hinese dictionary on the W est, 169; phonological, 169-see also tzu-tien** didactic literature, 78,145, 149,182 divination rhymes, 73 dram a criticism, 18,114 dream encounters, stories of, 142 dynastic histories-see cheng-shih JEj£
gazetteers, 85 gramm ars, 94 Growth o f the Publishing “In d u stry ”, 126
E Early Sung verse, 122 encyclopedias, 179-see also lei-shu* epitaphs, 150,152 erem itic life, 149 E rh-t’ung wen-hsiieh (ch ild re n ’s literature),** 31 erotic literature, 6 2 ,6 3 , 75,80,121 exam ination system, 1, 93; questions (tui-tse f t f f l in, 45
F fables, 23 factionalism, 1, 148; ‘factionalists o f Yiian-yu’ TUffi (1086-1094), 1 fang Sung-t’i (square Sung) style of characters, 128 fang-chih JjTfc. (local gazetteers), 67 fantasy, 80
H hagiography, 7 3 ,1 1 8 ,1 5 4 ; Taoist, 157 H ao-fang p ’ai H W M (School o f th e H ero ic and Unrestricted),** 4 ,1 4 ,4 2 -4 4 , 114, 139, 175; Su Shih’s influence on, 175 H eavenly M aster Taoism (T ’ien-shih tao JI), 154 hei-mu J&K (black screen) novels, 78 historiography, 41,135, 152 Hsi-k’u n fSH£ poets, 6 ,1 2 hsiatyi, 189 hsiao-chuan/ ( s m a l l seal) forms, 167 hsiao-hsiieh/\\S£ (minor leam in g -th e functional equivalent o f “linguistics” in p re-m o d em times), 165 hsiao-ling/ J ^ , 14, 153 hsiao-shuo 'haft, 61, 75, 188 hsieh-hou yii 8^ $ } (post-pause expressions), 56 hsien-chuang8H§& (literally “string binding”), 130 H sin-p’ai Iff® (New School) W u-hsia hsiaoshuo, since the 1950s in H ong K ong and Taiwan, 189,190 hsing-chuang frHft (accounts of conduct), 152 hsiu-ts’ai (cultivated talent) exam ination, 178 hsilan-yen shih (“m y sterio u s-w o rd ” poetry), 149, 150 hsiin-ku t)l|f& (exegesis- sim ilar to philology), 1 6 5 ,1 6 6 ,1 6 8 ,1 7 0 ,1 7 1
hu-tieh-ch.ua.ng4 1 (butterfly binding), 129 hua-pen stories, 142, 189 H u n dred D ays’ Reform M o v e m e n t'S E3iRSI, 5, 75
I I-wen chih S t r i f e (Records of Classical and O ther Literature),** 63-67, 166 Im m ortals, 73 im perial library, in the K’ai-yiian era, 66 innovations in p oetry characterize Chien-an times. T hese developm ents
J Japanese Restoration, 78 ju-hua A fS , 142 K
ko shihWM (songs and shih poetry), 65 ku-shih^W , 35,51 Ku-wenyiln-tung~£~$C.WM) (Ancient-literature or Ku-wen Movement),* 9 5 ,9 6 ,9 7 ,1 0 0 ,1 0 2 , 105, 106, 146, 153; in the early Sung, 147 kuan-hua 'it?IS or “M andarin,” 9 3 -se e also “M andarin” kung-an hsiao-shuo (court-case novels), 189
kung-shengdegree, 112 kung-t’i shih (palace-style poetry),* 90 L late C h’ing fiction,** 75-81; as a drastic change in C h in e se n a rra tiv e tra d itio n , 77; beginning of, 78; novels often referred to as hsia-i hsiao-shuo (novels of chivalry and righteousness), 189 Late T ’ang Style, 16, 122 lei-shu MWt,* 126-see also “encyclopedias” lexicography, 171; deficiencies of traditional C hinese m ethods of, 171 li J i (principles of things), 2 liek-chuan^li# (memoirs or biographies), 152 lien-chu SlSIc (strung pearls),** 89-91 Ling-yin M onastery U K # , 196 literary Chinese,** 92-94
literary criticism, history of 111 literary history, creative periods in, 82 literary supplement, 75 Liu-li-ch’ang tj/HMfRi., bookstores at, 127 Uu-shufxW (six categories of script), 167, 169 Loyang-party, 13 Itt-shihWWf (regulated verse), 35, 47, 96 M magazine editorials, 78 Maitreyan mythology, 118 man-tz’u ^ M , 14,42 Manchus, 68, 69, 115, 196; conquest of China, 127 M andarin (at that tim e based on the language of Nanking), 171 Mao-shan 155; Taoism at, 156 M ay Fourth, 81; scholars in, 78 meng-shu^tff (children’s primers), 32 metaphor, 72 Ming-Ch’ing succession, turmoil during, 195 M ing dynasty, collapse of, 158 m o d e rn C h in e s e c h ild r e n ’s lite r a tu r e m ovem ent (1921-1927), 37 m odern Chinese fiction, 77 m odernity, 76 m oral tales, 144 multiple narrators, 159 m usic, 61, 193, 195; and literatu re, 192; influence on listeners, 193 musical treatises of the later dynastic histories, 194 N National University (T’ai-hsiieh 147 nature, poetry of, 197 new music (hsin sheng S r® ), 60 New Party, in the Sung dynasty, 1 newspapers, 75; editorials in, 78 Nine M onk’s poetry, 17-see also Chiu-seng t ’i** N orthern plays, Hao-fang style in, 114
O official histories-see cheng-shih jElfe O ld T ext School, 176-177
oral narratives, 190 orthodox school o f painting in the early C h’ing, 196 P
prose, 22 ; theories of, 106 pseudo-biographies, 2 pu-shou%$a (radicals), 167 publishing, 75; publishing houses, com mercial, 126; publishing industry, 128
pa-ku-wen AW lX. (“eight-legged essay” o r “com position in eight lim bs”),* 96
pai-hua S I S (vem acular-language) novels, 190-see also “vernacular fiction” painters, 196-197 Palace editions (Wu-ying Tien), 125 palace-style poetry (see K ung-t’i shih 90 pao-chiian%% (preciousscrolls),** 117-120 paper, invention of, 124 parallel prose—see p ’ien-t’i wen* parallelism, 97 pentasyllabic-line poetry, em ergence of, 163 phonology, study of, 167 pi-chi m U ,* 190 pien-wen %£% (transform ation texts), 95, 118, 119 p ’ien-t’i wen SSSI^C (parallel prose),* 41, 90, 9 6 ,9 7 ,1 0 1 ,1 4 7 p ’ing-hua fffjg; (“p la in n a r r a ti v e ” o r “com m enting narrative”),* 126,185 Po Hsiang-shan t ’i fiflflilfll (Po Chii-i Style),** 122-123 Po-hsiiehHung-tz’ufayt'fcW f (Vast Erudition and G rand Exposition examination, 88
Po-t’iM poetry passim; poetry and painting, relationship betw een, 196; puns in, 197 political novel, 78 popular literature, 33,117 pornography, 121 prefaces, 69 prim ers, 96 printed book, oldest extant, 125 printing, 124-128; calligraphic styles of printed characters, 128; developm ent of, 124-126; Fukien printers o f illustrated editions, 126; finest M ing editions, 126; important centers of, 126 prognostication texts {ch’an wei WlM), 60,177
R refugees, 72 revolts, by W u Yiian-chi’s (d. 817), 142 rhapsody, 2 2 ,6 5 -see also fa* rhetorical literature, pre-Ch’in, 91 rhyme-books, 94 rise of new fiction, 78 ritual and music, 194 S salon, of H siao Tzu-liang, 179
sao
110,111
satire, 55-56, 76, 182 school prim ers, 126 science fiction., 75 ,8 0 Seven Masters o f the Chien-an Period, 163 Seven W orthies of the Bamboo G rove-see Chit lin ch’i-hsim t W 'b K “Sevens”- s e e cA’t'-fc;** Shang-ch’ing scriptures 155, lasting literary influence, 156; system atizing of, 154 sheng& (sound), 193 sheng-chuan , a biography whose subject is still alive, 30 shih 8T poetry, 2, 13-15, 19-20, 43-44, 47, 51, 65,68, 69,84-85,96,138,139,153; Sanskrit influence on prosody of, 179 shih hua (poetry talks),* 67 S h ih - te T a n g tti;« S , 126 shih-wen (current prose), 101,147 Shu % Faction, 13
shuoffo, 101 shuo-ch’ang
tfcHg (s p o k e n -a n d -s u n g o r “prosim etric literature”), 117 silk, as the m edium o f choice for hand-copied books, 124 S inoJapanese W ar (1937-1945), 5 ,4 9 Six Classics as a m odel, 100
Ssu-k’u editors, 84 Ssu-sheng pa-ping 0!Sf A IR (Four Tones and Eight Maladies), 179 storytelling conventions, 26 S u-m en Ssu H sueh-shih (Four Scholars at Su Shih’s Gate), 1, 13-14 sw ords-dynastic, 156; “divine swords" (shenchien #® J), 156 symbols, 72 T
ta-hsiieh
(major learning—i.e., learning that had m oral implications), 165 tabloids, 75 T aiping Rebellion, 76 T ’ai-shan School, 147 tan S ., 120 t ’an-tz’u 3PIBI (plucking rhym es o r strum m ed lyrics),* 48, 49, 119, 185 T aoism , hagiography of, 157; legends of, 72; literature, 154; philosophical texts, 150; Taoist scholarship, 155; scriptures, 117 t ’ien-UjzM (heavenly principles), 194 t’ung-koffl$. (children’s songs), 36 T ’ung-Kuang poets, 5 t’ung-yao MW* (children’s rhymes), 36 tran slations, 76; o f W estern a n d Jap an e se literature, 77; of fiction, 75
Ts’ai-tzu chia-jen hsiao-shuo (“scholar-beauty” fiction),* 26, 80
tsa-chii £§#!],* 18,19,112-113 tmn 9 (encomiums), 150 tsanM (hymns), 117 tz’u M (lyrics),* 2, 3-4, 12, 14-15, 19, 42, 44, 58, 68 , 69, 84, 94, 96, 108, 134, 138, 153, 175, 182; rhymes in, 169; revival in C h’ing and early Republic, 68 tzu-hsii § I f (autobiographical essay),* 98 tZU-shu^m (character books), 32, 165 tzu-tien see “dictionaries” tz’u-tien j$J& -see “dictionaries” U utopias, 75, 80
V vernacular fiction, 75, 76
W
wan-ko (dirges),** 172-174 Wan-yiieh p ’ai JiE (School o f D elicate Restraint),** 14, 4 3,52, 175 (s c rip t-a n a lo g o u s to grammatology), 165 wen-yen 3t]!f (p attern ed /eleg an t language), 9 2 -see also “literary Chinese” “W hite Lotus” (Pai-lien 6 S ) , 118 women artists, 69 women poets, 58, 6 8 ,6 9 ,1 0 8 ,1 3 2 , 140 w om en’s poetry, 58, 59, 68 , 69, 138, 139, 140, 184; collections of, 139, 184 Wu-hsia hsiao-shuo (“gallant fiction” or “chivalric fiction”),** 27, 188-191; Chiup ’ai (O ld School), 190; N o rth ern School, 190; Hsin-p’ai (New School), 190 wu-weiM%> (non-existence), 150
wen-tzu
Y Yellow T urban Rebellion, 162 yin 1? (ordered sound), 193 yin-yiian IBM (karmic destiny), 119 yin-yiin^ f H (“sounds and rhymes,” comparable to phonology), 165, 171 Yii family o f Chien-yang MWs in Fukien, as prom inent publishers, 126 yu-chi wen-hstteh (travel-record literature),* 101 yu-hsien shih SSfllji# (poems on roam ing as a transcendent), 179 Ytian-yang hu-tieh p ’ai (M andarin Ducks and Butterflies School), 189 “Yiian-yu Faction” 7C$&3!t, 13 yiiehtfe (music), 193 yiieh-fu m iff poetry,* 4 6 ,5 1 ,9 0 ,1 0 4 , 163, 179, 180 Yung-ming Poets, 47 yung-wu shih (poetry on objects), 179
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