By David Tod Roy
In this primary of a deliberate five-volume set, David Roy presents an entire and annotated translation of the recognized Chin P'ing Mei, an nameless sixteenth-century chinese language novel that specializes in the household lifetime of Hsi-men Ch'ing, a corrupt, upwardly cellular service provider in a provincial city, who continues a harem of six better halves and concubines. This paintings, identified basically for its erotic realism, is usually a landmark within the improvement of the narrative artwork form--not in basic terms from a in particular chinese language viewpoint yet in a world-historical context.
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Additional info for The Plum in the Golden Vase Or, Chin P'Ing Mei, Volume 1: The Gathering
Sample text
The action of the Chin P’ing Mei takes place between the years 1112 and 1127，during the reign of Emperor Hui-tsung (r. 1100-1125) of the Northern Sung dynasty (960—1127)，and the novel describes the in ternal collapse of that regime, culminating in the conquest of North China by the alien Chin dynasty (1115—1234) in 1127. It is clear from internal evidence，as well as from the comments of his contemporaries, that al though the author set his novel in the Sung dynasty, the conditions that he described in it were really those of his own day, that is, the reigns of the X XX INTRODUCTION Chia-ching and Wan-li emperors of the M ing dynasty, who were on the throne from 1521 to 1566 and from 1572 to 1620，respectively.
This is, therefore, on the one hand an economical and aesthetically effective way of demonstrating both the form and extent of P， an C h in -lie n ， s self-deception, and on the other hand a telling exposure of the inadequacy of such traditional stereotypes to convey the complexity and problematic quality of human reality. The way in which the author of the Chin P'ing Mei exploits this kind of conventional material for his own unconventional ends is unprecedented in the history of Chinese fiction, but is reminiscent of the practice of some contemporary Western writers who have experimented with similar effects.
One of the major themes of the narrative is the fatal consequences of self-deception. In passage after passage, beginning P’an Chin-lien, whom the reader soon discovers as early as the first chapter， to be a ruthless and depraved adulteress and murderer, is shown to identify x lv i INTRODUCTION herself almost completely with the personae of the sentimental popular lyr ics that she sings, both to herself and to others. This is, therefore, on the one hand an economical and aesthetically effective way of demonstrating both the form and extent of P， an C h in -lie n ， s self-deception, and on the other hand a telling exposure of the inadequacy of such traditional stereotypes to convey the complexity and problematic quality of human reality.