The Columbia Anthology of Yuan Drama [Pilot project. eBook available to selected US libraries only] 9780231537346

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The Columbia anThology of

Yuan Drama

T r a n s l aT i o n s f r o m T h e a s i a n C l a s s i C s

T r a n s l aT i o n s f r o m T h e a s i a n C l a s s i C s E d i t o ri al B oard W m . t h E o d o r E dE B ary, Chai r

Paul Anderer Donald Keene George A. Saliba Haruo Shirane Burton Watson Wei Shang

The Columbia anThology of

Yuan Drama C. T. hsia, Wai-Yee l i , & G eorG e K a o eDiTors

Columbia universiTY press

neW YorK

Columbia University Press Publishers Since 1893 New York Chichester, West Sussex cup.columbia.edu Copyright © 2014 Columbia University Press All rights reserved Columbia University Press wishes to express its appreciation for assistance given by the Chiang Ching-kuo Foundation for International Scholarly Exchange and Council for Cultural Affairs in the preparation of the publication of this book. Columbia University Press thanks Mr. Zhang Dapeng for his contribution  toward the publication of this book Library of Congress Cataloging-in-Publication Data The Columbia anthology of Yuan drama / edited by C. T. Hsia, Wai-yee Li, and George Kao. pages cm Includes bibliographical references and index. ISBN 978-0-231-12266-5 (cloth : alk. paper)—ISBN 978-0-231-12267-2 (pbk. : alk. paper)— ISBN 978-0-231-53734-6 (e-book) 1. Chinese drama—Yuan dynasty, 1260–1368—Translations into English. I. Hsia, Chih-tsing, 1921–editor of compilation. II. Li, Wai-yee editor of compilation. III. Kao, George, 1912–2008 editor of compilation. PL2658.E5C85 2014 895.1ʹ24408—dc23 2013030067

Columbia University Press books are printed on permanent and durable acid-free paper. This book is printed on paper with recycled content. Printed in the United States of America c 10 9 8 7 6 5 4 3 2 1 p 10 9 8 7 6 5 4 3 2 1 Cover image: © flyinglife Cover and book design: Lisa Hamm

t o t h E m E m o ry o f C . t. h s i a

C o n TenTs

Acknowledgments ix

introduction 1 hisToriCal plaYs

1. Ji Junxiang, The Zhao Orphan 17 pi - TWan h uanG anD Wai-Y ee li

The Zhao Orphan in Yuan Editions 55 Wai - Yee li

2. anonymous, Tricking Kuai Tong 73 Wai - Yee li

Crime anD punishmenT

3. anonymous, Selling Rice in Chenzhou 107 riC harD C . hessneY

4. meng hanqing, The Moheluo Doll 147 J onaThan C haves

viii

Co n Te n T s

follY anD ConsequenCes

5. Qin Jianfu, The Eastern Hall Elder 189 roberT e . heG el anD Wai-Y ee li

6. li Zhifu, The Tiger Head Plaque 233 Yoram s zeK elY, C.   T. hs i a, Wai-Y ee li, anD Geor G e Kao

female aGenCY

7. Guan hanqing, Rescuing a Sister 269 GeorG e K ao anD Wai-Y ee li

8. shi Junbao, Qiu Hu Tries to Seduce His Wife 299 James m . harGe TT, J ohn C oleman, Kuan-fooK l ai, Glori a shen, anD WanG m inG

romanTiC love

9. Bai Pu, On Horseback and Over the Garden Wall 333 J erome Cavanau G h anD Wai-Y ee li

10. li haogu, Scholar Zhang Boils the Sea 371 allen a. zimmer man

Bibliography 403

a C K n o Wl eDGmenTs

C.

T. Hsia and George Kao started this project many years ago, when the study of Yuan drama was still a nascent field in the American academy. Their goal was to introduce readers to fascinating works that should claim their rightful place in world theater and world literature. George Kao passed away in 2008. C. T. Hsia invited me to revise and edit this volume in 2011. Earlier versions of two of the plays, The Zhao Orphan and Rescuing a Sister, were published in Renditions, and we thank Renditions for allowing their use as base texts for revisions. In the midst of a demanding schedule in fall 2011, Mrs. Della Hsia turned these published materials into electronic files to facilitate editing, for which we are grateful. We thank Wilt Idema for his excellent advice on an earlier draft of this introduction and Linda Feng for her comments on four of the plays included in this volume. We are also much indebted to the anonymous reviewers for their extremely useful suggestions. Mike Ashby’s attention to consistency and clarity greatly improved this volume. It was a pleasure to work with such a patient and meticulous editor. Wai-yee Li

The Columbia anThology of

Yuan Drama

I n Tr o ducTI on

WaI-yee LI

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his volume is designed to introduce the reader to the first great flowering of drama in the Chinese tradition. The plays translated here are conventionally referred to as northern drama or Yuan drama, a period designation that ties them to the dynasty of Mongol rulers who conquered northern China (then under Jin, or Jurchen, rule) in 1234 and southern China (Southern Song) in 1276 and ruled until 1368. As is often the case, literary developments do not tally neatly with political turning points. Plays of this kind were already flourishing by the mid-thirteenth century (before Kublai Khan proclaimed the founding of the Great Yuan dynasty in 1271), and they continued to be written in the late fourteenth and early fifteenth centuries. Many of the so-called Yuan plays are preserved in much later redactions, and one may legitimately ask whether changes introduced by fifteenth-, sixteenth-, and seventeenth-century editors permit us to still think of the resultant texts as being embedded in the thirteenth and fourteenth centuries. Textual “sedimentation” forces us to go beyond a simple either-or stance in considering the issue of authenticity. Instead of dismissing a Ming edition of a Yuan text as “inauthentic,” it is probably more useful to think of it as a composite Yuan-Ming creation that contains both Yuan elements and Ming editorial changes.1 Yuan drama is now recognized as one of the great achievements of Chinese vernacular literature. By turn lyrical and earthy (even vulgar), sentimental and ironic, Yuan drama commands an emotional and linguistic range that should earn it a rightful place in world theater and world literature. Combining sung arias, declaimed verses, doggerels, dialogues, mime, jokes, and probably acrobatic feats, it was a vital part of the culture of performance and entertainment

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in the thirteenth and fourteenth centuries.2 It provides a repertoire of stories and themes that are continually reworked in later periods, including revival in different media in our own times. Its broad canvas presents characters ranging from high to low, encompassing immortals, gods, rulers, ministers, warriors, strategists, judges, scholars, merchants, beggars, wives, mothers, maids, servants, prostitutes, wastrels, monks, and nuns, to name only some examples. There are recurrent topoi, such as historical legends of vengeance and requital, romances of rulers and consorts, heroism and betrayal at moments of dynastic founding or political crisis, power struggles between historical personages, miscarriage of justice in the court rectified by sagacious judges, banished immortals or humans that attain enlightenment, recluses insistently uninterested in power, romantic encounters of young lovers who eventually overcome all odds, family conflicts that beg for resolution, or wastrels who learn their lessons. The sampling in this volume, though by no means exhaustive, introduces readers to some common story types. Our plays are called zaju 雜劇 (literally, “mixed performance” or “miscellaneous performance”) in Chinese. The term appeared as early as the ninth century, but its usage seems not to have become common until the Song dynasty (960–1279), when it was applied to skits, mime, puppet theater, and other types of musical or acrobatic performance. A shared term is, of course, not evidence of genealogy. Literary historians believe, however, that the dramatic forms presented here have their origins and prehistory in various modes of storytelling, musical performance, and theatrical skits that flourished from the tenth to the thirteenth centuries. Especially pertinent are the “play texts” (yuanben 院本) and narrative song suites called all keys and modes (zhu gongdiao 諸宮調) that developed in northern China when it was under Jurchen rule (1115–1234).3 Tao Zongyi 陶宗儀 (b. 1316) mentions in his miscellany Respite from Farming (Chuogeng lu 輟耕錄) that there are 690 play texts known by titles; unfortunately, none of these is extant. We do have one text in all keys and modes that has survived in its entirety: Dong Jieyuan’s 董 解元 (ca. 1200) retelling of Yuan Zhen’s 元稹 (779–831) “Yingying’s Story” (Yingying zhuan 鶯鶯傳) in The Western Chamber by Master Dong (Dong Jieyuan Xixiang ji 董解 元西廂記), which gives a happy ending to a love story that originally ended with abandonment.4 Dong’s text later spawned The Western Chamber (Xixiang ji 西廂記) by Wang Shifu 王實甫 (ca. 1250–1300), one of the most famous romantic plays in the Chinese tradition.5 The relationship between the texts by Dong and Wang gives us a tantalizing glimpse into what might have been vibrant interactions between musical storytelling and the theatrical stage. There are musical differences between texts in all keys and modes and northern drama.6 Some of these divergences are observable in print, but the actual music of both is long lost. What remains is the music of the words, the rhythm, rhymes, and sonorous musicality of the arias, which we can still experience to a certain extent when we recite or chant them (even if we cannot sing them) in modern dialects. The Treatise on Singing (Changlun 唱論, ca. early fourteenth century) by Yannan Zhi’an 燕南芝庵 characterizes the mood associated with various modes; for example, xianlü mode 仙呂調, “fresh and

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lingering”; nanlü mode 南呂宮, “lamenting and grieving”; zhonglü mode 中呂宮, “high and low notes chasing one another”; huangzhong mode 黃鐘宮, “lush and filled with longing”; zheng mode 正宮, “melancholy and heroic”; double-tune mode 雙調, “strong, brisk, and stirring”; Yue tunes mode 越調, “descriptive and cynical.”7 The basic organizational component of each act in northern drama is the song suite, in which all arias follow one mode (gongdiao 宮調) and one rhyme. Thus xianlü mode “Touching Up Red Lips” (Dian Jiangchun 點絳唇) indicates “an aria in the xianlü mode to the tune ‘Touching Up Red Lips.’ ” The mode is mentioned only with the first aria; it is understood that all subsequent tunes in the same act follow the same mode. Although translations of the tune titles are provided in this volume, the correlation of their semantic meanings and musical properties is not well understood. In some specific cases, the tune titles indicate structural or sequential functions. Thus yao 么 (or yaopian 么篇) means “same tune as above”; shawei 煞尾 (or zhuansha 賺煞, zhuanshawei 賺煞尾, zhuanwei 賺尾, weisheng 尾聲, yuanyang sha 鴛鴦煞) indicates the last aria of the act, or “coda”; ersha 二煞 is “the aria before the coda” (“penultimate coda”); sansha 三煞 refers to “the third to last coda”; and gewei 隔尾 (“coda for the turning point”) has the same tune pattern as the coda but appears in the middle of the act where there is a change of mood or a plot twist. The dialogues are secondary and probably improvisatory. In the earliest editions, the spoken parts are minimal and often indicated with the expression yunliao 云了 or yunzhu 云住 (after X has spoken)8 rather than spelled out, and there is no formal division into acts. A new song suite announces a new act, although the modes for song suites are not listed in these Yuan printings. The modern editors of Thirty Zaju Plays in Yuan Editions (Yuan kan zaju sanshi zhong 元刊雜劇三十種, hereafter Yuan Editions) have inserted the divisions into acts and the names of modes for song suites.9 Typically there are four acts. The five-act format in The Zhao Orphan is highly unusual (and the result of Ming editorial changes),10 and the five cycles of four acts each in The Western Chamber may be the only example of its kind.11 Some plays have “wedges” (xiezi 楔子), usually placed at the beginning but sometimes also between two acts. The metaphor is derived from carpentry and refers to the small piece of wood that fills a gap as two or more pieces of wood are fitted together. Unlike the prologue (jiamen 家門, fumo kaichang 副末開 場) in later southern chuanqi 傳奇drama, the wedge is not separate from the plot and does not summarize the play or present the playwright’s perspective; rather, it is a short scene setting up the premise of the plot or facilitating its transitions. Its brevity means that instead of an entire song suite, only one or two arias will be performed, sometimes by roles other than the lead.12 The definition of the wedge was initially fluid. In the late fourteenth century, the first song was sometimes designated as the wedge, as in Zhu Quan’s 朱權 (1378–1448) A Formulary of Correct Sounds of an Era of Peace (Taihe zhengying pu 太和正音譜, hereafter Correct Sounds). Even as late as 1610, when Wang Jide 王驥德 (d. 1623) wrote Musical Principles (Qulü 曲律), the wedge was still defined in musical terms: “A performer’s first song upon coming on stage is called the ‘wedge’ in

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the north and the ‘lead-in’ in the south.”13 By the late Ming, however, the wedge was commonly accepted as the introductory or transitional short scene. Of the one hundred plays included in Zang Maoxun’s 臧懋循 (1550–1620) Anthology of Yuan Plays (Yuan qu xuan 元曲選, hereafter Anthology), sixty-nine have wedges. Yuan printings do not have the passages functioning as wedges marked as such; the designation seems to have begun in Ming editions of Yuan plays.14 The theatrical troupes performing in the thirteenth and fourteenth centuries sometimes consisted of members of the same family or of teacher and disciples. There were court troupes (gongting xiban 宮廷戲班), “household entertainers” kept by rich families (jiayue 家樂), and, most commonly, independent troupes that lived in pleasure quarters or, more literally, “the courtyard of the entertainers’ guild” (hangyuan 行院). Classified as “debased” (jian 賤), these professional performers were subject to sumptuary and other restrictions.15 Actors specialized in specific role types, although there were also performers who could play both male and female roles.16 Our translation of the role types follows the system that Wilt Idema and Stephen West devised for Monks, Bandits, Lovers, and Immortals: Eleven Early Chinese Plays (hereafter Monks).17 The most important role is that of the lead singer, the male lead (zhengmo 正末) or the female lead (zhengdan 正旦), who determines whether a text is called a male text (moben 末本) or female text (danben 旦本). One actor sings throughout (with some exceptions in the wedge), although he or she may play different characters in one play. For example, in The Zhao Orphan, the male lead plays successively Han Jue, Gongsun Chuqiu, and Cheng Bo (Zhao Wu). In Selling Rice in Chenzhou, the male lead plays both the victim Zhang Piegu and Judge Bao. Scholar Zhang Boils the Sea is unusual in having both a female lead (playing the dragon princess Qionglian and the Hairy Maiden) and a male lead (playing the abbot Fayun) sing, although in another edition it is the Fairy Mother (played by the female lead) rather than Fayun who shows Zhang Yu the way to the sea in act 3, thus preserving the gender unity of a “female text.” The lead singer is the emotional focus of the play; the arias plumb lyrical depths, explore conflicting thoughts and feelings, and allow narratives to unfold. The role type that plays the adversary to the lead singer is the comic (jing 淨), a villainous character who often also performs farcical routines and nonsensical doggerels. This means that evil is never momentous: a figure like Macbeth, Iago, or Richard III would not be imaginable in these plays. More purely comical but sometimes also malevolent is the clown (chou 丑), a role type found only in late-Ming editions of Yuan plays; it is not mentioned in Zhu Quan’s Correct Sounds.18 Modifiers like “extra” (wai 外), “second” (er 二), “opening” (chong 冲), “painted” (cha 搽), “added” (tie 貼), “flowery” (hua 花), and “old” (lao 老) are variously applied to male (mo 末), female (dan 旦), and comic types and define a host of supplementary characters; for example, “the opening male,” who usually heralds action, the “added female,” who often plays maids, “the extra male,” who plays supplementary characters, and so on. In addition, there are names or stock appellations that function like role types, such as Meixiang 梅香 for maid, Zhang Qian 張千 for a yamen clerk or guard, Doctor Lu’s Rival (Sai Lu yi 賽盧醫) for a quack doctor,

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or Xiao’er of the Inn (Dian Xiao’er 店小二) for an innkeeper. Some terms for characters seem specific to dialect of the period and northern drama, such as bu’er 卜兒 (old woman), lai’er 倈兒 (child), or gu 孤 (official). Not much is known about the authors of these plays. Names of authors are not included in the extant Yuan printings, and the authorial attributions in Ming editions are sometimes questionable. A major source of information is Zhong Sicheng’s 鍾嗣成 (ca. 1279–1360) The Register of Ghosts (Lugui bu 錄鬼簿, prefaces dated 1355, 1360, and 1366), whose entries are typically short and cryptic.19 Zhong notes in his preface (1360) that most of the playwrights were “of humble origins and did not hold high positions.”20 The activities of “talented writers of writing clubs” (shuhui cairen 書會才人) and joint efforts by a number of playwrights suggest collaboration that takes us beyond discrete textual boundaries and conventional notions of literati self-expression.21 Stephen West has noted that the categories of “notable gentlemen” (minggong 名公) and “talented writers” (cairen 才人) in The Register of Ghosts probably correspond to, respectively, “literati writers” and “professional writers.”22 The line between the two might in any case have been quite fluid. Although it is customary to assert that Yuan playwrights were far from the world of official power and privilege, we should note that some of them did hold office.23 Taking our cue from The Register of Ghosts, we can discern a shift from north to south in the regional distribution of playwrights from the early thirteenth century to the early fourteenth century.24 The Ming scholar Shen Defu 沈德符 (1578–1642) maintained that drama flourished during the Yuan because Mongol rulers “used song writing to assess the merit of scholars” (yi qu qushi 以曲取士) during examinations.25 The same point is mentioned in Zang Maoxun’s preface to his Anthology.26 This theory was disparaged during the Qing and definitively rejected in Wang Guowei’s 王國維 (1877–1927) History of Drama During the Song and Yuan Dynasties (Song Yuan xiqu shi 宋元戲曲史, 1915).27 Also related to the civil service examination is the argument that its abeyance encouraged the literati to try their hand at writing plays. The civil service examination was not held from 1279 to 1314 and was again suspended from 1334 to 1340. When it was held, it was often merely local, open to abuses, and biased in favor of Mongols and Semu 色目(central and western Asians of the “various categories”). According to West, “Altogether only sixteen central examinations were held in the years 1314 to 1368, promoting only 1,139 successful candidates for the bureaucracy.”28 Discontent and political disaffection as the impetus for writing is a wonted theme in the Chinese tradition. In this context, frustrations are often linked to political corruption and the sentiments of those who remained loyal to the fallen regimes of Jin and Song. Such is the view articulated in Zhu Jing’s 朱經 1364 preface to Xia Tingzhi’s 夏庭芝 Houses of Pleasure (Qinglou ji 青樓集).29 According to Zhu, playwrights like Bai Pu 白樸 (b. 1226) and Guan Hanqing 關漢卿 (thirteenth century) were Jin loyalists who disdained participation in the Yuan political system, whose negative turn soon meant that “scholars lost their vocation and their will was thwarted.” Many literary histories rehearse the argument that Han Chinese literati, denied the venue

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for advancement, vented their frustration and disappointments by turning to the writing of plays. Twentieth-century studies tend to link such disaffection with pointed social critique; Yuan drama is often lauded for its fierce denunciation of flaws in the judicial system, official corruption, and other kinds of social injustice. Some members of the elite probably did feel deprived and humiliated in a discriminatory system, but did this cause them to turn to drama as the means for self-realization? If this causal connection did exist, did it also prompt heightened awareness of social ills? These are possible but by no means inevitable logical leaps. Perhaps much more immediate and palpable is the symbiosis between literate men writing plays and the flourishing urban culture in which the theater claimed a central place. The extant Yuan editions advertise their compilation or printing in Dadu (present-day Beijing) and Hangzhou, pointing to the ties between theatrical culture and urban centers. This connection reached back as far as the Northern Song, as attested by the description of the stage and entertainment quarters of Kaifeng in Meng Yuanlao’s 孟元老 Dreaming of Splendors Past: The Eastern Capital (Dongjing menghua lu 東京夢華錄), completed in 1147 and published forty years later.30 Recollections of thirteenth-century Hangzhou, such as Zhou Mi’s 周密 (1232–1298) The Bygone World of Hangzhou (Wulin jiushi 武林舊事, ca. 1290) and Wu Zimu’s 吳自牧 Record of Vain Dreams (Mengliang lu 夢梁錄, 1334), also depict a vibrant urban culture. The rich, sensuous texture of sights, sounds, and tastes of entertainment quarters and houses of pleasures is described in many thirteenth- and fourteenthcentury songs and plays. In Du Renjie’s 杜仁傑 (thirteenth century) song suite “The Country Bumpkin Does Not Know the Theater” (Zhuangjia bushi goulan 莊家不識 勾欄),31 the perspective of the country bumpkin defamiliarizes theatrical entertainment. In another instance, Gao Andao 高安道, in the voice of an official, superciliously mocks an inferior theatrical setup and performance in “Songs and Performance in the Pleasure Quarters” (Sang dan hangyuan 嗓淡行院) from the perch of social superiority.32 A few plays specifically dwell on the lure of the theatrical world. Immortals have a hard time convincing an actor to leave his troupe in the anonymous Zhongli of the Han Leads Lan Caihe to Enlightenment (Han Zhongli dutuo Lan Caihe 漢鍾離度脫藍采和, late thirteenth to early fourteenth century).33 There are also plays about young men of good family so enthralled with the theater that they join theatrical troupes, as in Love in the Purple Cloud Pavilion (Zhugongdiao fengyue Ziyun ting 諸宮調風月紫雲亭), attributed to Shi Junbao 石君寶 (thirteenth century), and the southern play A Playboy from an Official Family Takes the Wrong Career (Huanmen zidi cuo lishen 宦門子弟錯立身) by “A Talented Writer from Hangzhou” (Gu Hang Cairen 古杭才人, thirteenth century).34 F. M. Mote has concluded, “There is more reason to believe that they [writers of zaju] were drawn to the theater because it satisfyingly employed their talents than there is to believe that they were forced by demeaning circumstances to follow a lifestyle that they would otherwise have avoided.”35 Zhong Sicheng writes in the 1330 preface to The Register of Ghosts,

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Alas! I too am a ghost. If I can turn the ghosts of the dead as well as the ghosts of the not yet dead into undying ghosts, so that their names can spread far, how fortunate I would be! As for the high-minded scholars and the learning about moral nature and principles, by whose standards I may be thought to have offended against the sages’ teachings, I can only, with those of like mind, eat clams and reserve my words for those who know the taste.

Ghosts are less than human and yet more than human; they become so through Zhong’s elevation of half-forgotten “ghosts” to the realm of literary immortality. By the same logic, clams satisfy a humble palate but may be tastier than more expensive foods—in any case the like-minded who share their appreciation are already on their way to redefine taste. Ghosts and clams are apt metaphors for Yuan playwrights and their plays. As it happens, Zhong does stand between oblivion and immortality for these writers. Clams symbolize the unorthodox “tastiness” of northern drama; it is precisely because they “offend against the sages’ teachings” that they claim a special place in Chinese literary history. Even with the “damage control” of Ming editors who turn Yuan plays into “texts for reading,” we can still sense the subversive potential: Kuai Tong lamenting the fate of loyal ministers betrayed by ruthless rulers (Tricking Kuai Tong [Zhuan Kuai Tong 賺蒯通]); Judge Bao reveling in trickery and buffoonery as he solves a crime case (Selling Rice in Chenzhou [Chenzhou tiaomi 陳州糶米]); Shanshouma justifying a symbolic patricide (The Tiger Head Plaque [Hutou pai 虎頭牌]); Luo Meiying asserting “the principle of wifely authority” (qigang 妻綱) (Qiu Hu Tries to Seduce His Wife [Qiu Hu xi qi 秋胡戲妻]); Zhao Pan’er cynically deconstructing high-flown romance (Rescuing a Sister [Jiu fengchen 救風塵]); and Li Qianjin berating her weak husband and unfeeling father-in-law (On Horseback and Over the Garden Wall [Qiangtou mashang 牆頭馬上]), to name but a few examples from this volume, all test the limits of decorum, sociopolitical boundaries, and conventional moral premises despite professed adherence to orthodox principles. Zhong’s defiant adoption of the oppositional stance is all the more remarkable when we consider the numerous contemporary and later arguments defending drama on account of its supposed articulation of orthodox virtues and potential for moral edification.36 Two centuries later the Ming scholar He Liangjun 何良俊 (1506–1573) continues the taste metaphor as he compares Gao Ming’s 高明 (ca. 1306–1359) Story of the Lute (Pipa ji 琵琶記) with Yuan drama: “Ten thousand miles of endless sky” is a fine poetic exposition; how can labels like lyrics or songs exhaust its merit! But since it is called a dramatic aria, it has to have garlic and cheese, and this aria has none of it. Just as in a feast of nobles and high officials, rich and elaborate food like camel hump or bear paws fills the space in front of them, and yet there are no vegetables, bamboo shoots, mussels, or clams. What is lacking is tastiness with character [fengwei 風味]!37

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He Liangjun also faults The Western Chamber and Story of the Lute for being “totally effeminate” (quan dai zhifen 全帶脂粉), in contrast to Yuan masters, whose natural and rough-hewn diction he characterizes as the “original color” or “natural color” (bense 本色) of the “professional playwright” (zuojia 作家).38 Despite some passing resemblance, the “garlic and cheese” metaphor is quite different from the “clam” metaphor. Here “tastiness” is more a matter of stylistic register. It is in the same spirit that Zang Maoxun praises Yuan drama for “achieving craft by being the opposite of crafted” (bu gong er gong 不功而功), an implicit corrective of what Zang perceives as the overrefinement of contemporary southern drama. For Zang the criterion of evaluation is “theatrical function” (danghang 當行), the affective power of a play achieved through compelling role-playing.39 As Yuan drama is assimilated into the great tradition, ideological challenges are tamed and transformed into (or at least understood as) aesthetic “roughness” or “naturalness.” “Naturalness” (ziran 自然) is also upheld as the prime virtue of Yuan plays in the first modern Chinese academic study of drama, The History of Drama During the Song and Yuan Dynasties by Wang Guowei. Wang maintains that Yuan playwrights “wrote by following where their inspiration took them—they did so to amuse themselves and others.” They just depicted the thoughts and feelings in their hearts and the ways things were in their era, and the truth of genuineness and conviction, as well as the spirit of beauty and distinction, often shone through. That is why it is not far off the mark to say that Yuan drama is the most natural literature in China. As for the naturalness of its language [wenzi 文字], that is just the inevitable consequence [of its spirit]—it is but a secondary point.40

Wang argues that it is this “naturalness” that allows Yuan drama to transcend flaws of structure, characterization, and thought content (sixiang 思想). In other words, Wang is defining “naturalness” as a mode of uncensored and unmediated expression beyond considerations of ideology or style. In doing so he implicitly bypasses the dichotomy of form and content. By this logic it is emotional honesty that allows Yuan playwrights to go beyond the constraints of tradition or orthodoxy without deliberate ideological agenda or stylistic choice. It is also interesting that the defense of drama should be based on sincerity and genuineness, when the essence of acting is, after all, a kind of lying or make-believe. According to extant sources, we know of the names of about 200 playwrights and the titles of about 737 plays.41 The number that actually existed must have been much larger; as late as the mid-sixteenth century the poet, playwright, and theater connoisseur Li Kaixian 李開先(1502–1568) still had the chance to peruse about 1,750 zaju.42 We now have 207 extant “Yuan plays,” of which 45 exist as fragments.43 The quotation marks remind us that the category here includes a few early-Ming works and that these plays are, as

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mentioned, composite Yuan-Ming creations, although it is customary to refer to them as Yuan drama. Many anonymous plays cannot be dated with certainty, and some Ming plays might have masqueraded as Yuan plays by using their titles.44 Most major extant collections of Yuan plays, some of which exist in multiple versions, are preserved in Plays in Early Editions (Guben xiqu congkan 古本戲曲叢刊), fourth series (1958).45 The following list gives the names of collections, names of compilers (if known), and the number of extant plays: 1. Thirty Zaju Plays in Yuan Editions (Yuan kan zaju sanshi zhong 元刊雜劇三十 種),46 30 2. Copied and Collated Zaju Plays Past and Present from the Maiwang Studio (Maiwang guan chao jiao gujin zaju 脈望館抄校古今雜劇), Zhao Qimei 趙琦美 (1563– 1624), 242 3. Zaju by Ancient Masters (Gu mingjia zaju 古名家雜劇, 1588), Yuyang Xianshi 玉陽 仙史,47 10 4. Ancient Zaju (Gu zaju 古雜劇, 1588), Guquzhai 顧曲齋 printing, Wang Jide, 20 5. Anthology of Zaju (Zaju xuan 雜劇選, 1598), Xijizi 息機子, 11 6. Refined Music (Yangchun zou 陽春奏, 1609), Huang Zhengwei 黃正位, 3 7. Zaju from the Yuan and Ming Dynasties (Yuan Ming zaju 元明雜劇), 4 8. Anthology of Famous Plays Past and Present (Gujin mingju hexuan 古今名劇合選, comprising Libation to the River [Leijiang ji 酹江集, hereafter Libation] and Willow Branch [Liuzhi ji 柳枝集]), 1633, Meng Chengshun 孟稱舜 (seventeenth century), 56

The plays included in Yuan Editions are of different provenance, but they were already grouped together as a collection by the sixteenth century. The Maiwang Studio Collection, once larger, now includes 242 plays, of which 132 plays do not exist in other editions. It includes plays from printed editions, 54 from Zaju by Ancient Masters (hereafter Ancient Masters) and 15 from Anthology of Zaju (hereafter Xijizi). It also includes hand-copied manuscripts, 95 from the Ming imperial palace, 33 from the Ming book collector Yu Xiaogu 于小谷, and 44 of unknown provenance. This collection was in the possession of famous Qing collectors. Zheng Zhenduo 鄭振鐸 (1898–1958) discovered it in Shanghai in 1938.48 Plays from Ancient Masters and Xijizi not included in the Maiwang Studio Collection are grouped by the editors of the 1958 series under the titles of no. 3 and no. 5. The Ming editions not found in the 1958 series are Li Kaixian’s Revised Plays by Yuan Masters (Gaiding Yuan xian chuanqi 改訂元賢傳奇), Tong Yeyun’s 童野雲 Selections of Yuan Plays (Yuanren zaju xuan 元人雜劇選), and Zang Maoxun’s Anthology, which includes one hundred plays. Six Yuan plays revised by Li Kaixian (ca. 1566) are incorporated in the modern edition of Li’s collected writings.49 Of the various Ming editions, the one that eventually became most influential is Zang Maoxun’s Anthology. Its ready availability explains its exclusion from the 1958 series. Zang’s editorial labor has

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invited criticism; both Wu Mei 吳梅 (1883–1939) and Zheng Zhenduo fault Zang for his cavalier “corrections” and quote with approval Ye Tang’s 葉堂 (eighteenth century) critique of him as a “rash fellow” (menglang han 孟浪漢). Sun Kaidi 孫楷第 (1902– 1989) claims that Zang “willfully followed his judgments and made too many corrections.” Idema and West see Zang’s editorial effort as a deliberate “Confucianization” of Yuan plays.50 However, Zang’s Anthology has never lacked admirers and ardent defenders.51 It is hard to judge the extent of Zang’s editorial intervention because there are so many gaps in the genealogies and transmission of Yuan plays. We believe that Zang’s Anthology deserves attention, not least because of its tremendous influence. In some cases, the version in Zang’s anthology is more interesting and coherent than versions in other Ming editions. Some plays exist only in Anthology, as is the case with three plays in this volume.52 For the past four centuries, Chinese readers have enjoyed Yuan plays through this anthology. In The Story of the Stone (The Dream of the Red Chamber [Honglou meng 紅樓夢]) (chapter 42), the prim and proper Xue Baochai, even as she warns Lin Daiyu of the dangers of reading plays, confesses to having secretly read “the hundred Yuan plays” (Yuanren bai zhong 元人百種) as a child. Through Zang’s Anthology, Yuan drama became an integral part of the Chinese literary tradition. It is also through this collection that Yuan plays were first introduced to the West in the eighteenth and nineteenth centuries. Liu Jung-en’s (1908–2001) Six Yuan Plays (1972) was based on Zang’s Anthology, but it was published more than forty years ago and leaves room for updating. By focusing its selection on Zang’s Anthology, this volume also complements recent endeavors in the translation of Yuan drama. Monks, for example, includes only one text from Anthology since Idema and West are more interested in using the earliest editions in order to reconstruct Yuan plays as scripts for performance. Zang Maoxun belonged to a generation of scholar-entrepreneurs who combined scholarly interests with business acumen. He edited the plays for reading with a view to making Anthology a profitable venture. We hope that these plays make for good reading for the general reader as well as students of Chinese literature. In an early draft of this volume, all the translations were based on Zang’s Anthology. In our revisions, we chose to use another Ming edition as the base text only in the case of Rescuing a Sister: since there are two good published translations of the play based on Anthology, it may be useful to highlight the more biting sarcasm of the version from Ancient Masters. For the translations based on Anthology, we explain significant textual variations in the notes. For the purpose of comparison, we have translated The Zhao Orphan from the Yuan Editions. Although it is customary to translate Chinese poetry as blank verse, in our revisions we have increased the use of rhymes whenever feasible in order to better convey the pathos or the comic potential. For example, the verse a character recites when he or she comes on stage is more often doggerel than poetry, and its effectiveness relies on rhyme. (Textual variants cited in the notes are also often rhymed in the original, but we have focused on semantic difference in such cases and have not tried to preserve the rhyme.)

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n oT es 1. For Ming editorial changes in Yuan plays, see Idema, “Why You Have Never Read a Yuan Drama”; West, “Text and Ideology.” 2. On theatrical culture in the period 1100–1450, see Idema and West, Chinese Theater. 3. On Jurchen elements in Yuan drama, see the introduction to chap. 6, this volume, and Xu Shuofang, Xu Shuofang ji, 90–129. 4. See Dong Jieyuan, Dong Jieyuan Xixiang ji; Ch’en Li-li, Master Tung’s Western Chamber Romance. Another two texts in “all keys and modes” exist as fragments: one on Liu Zhiyuan, the founder of the Later Han (947–950), one on the Tianbao era and the An Lushan Rebellion. For more on this genre, see Idema, “Data on the Chu-kung-tiao”; Idema, “Satire and Allegory”; West, Vaudeville and Narrative. 5. See Wang Shifu, Jiping jiaozhu Xixiang ji; Idema and West, Story of the Western Wing. 6. See Xu Fuming, Yuandai zaju yishu, 7–8. 7. Yannan Zhi’an, Changlun, anthologized in Wei Fei and Wu Yuhua, Gudian xiqu meixue ziliao ji, 73. 8. This indicates that the lead has to wait for the speech of another character to finish. 9. The version used in this volume is Xu Qinjun, Xin jiao Yuan kan zaju sanshi zhong. 10. For other examples of zaju in five acts and in six acts, see Xu Fuming, Yuandai zaju yishu, 129. 11. Journey to the West (Xiyou ji 西遊記) by Yang Jingxian 楊景賢 (ca. 1345–ca. 1421) consists of six cycles of four acts each and features multiple singers. However, scholars dispute the dating of this play; some claim that it is a late sixteenth-century work. The Story of Mistress and Maid (Jiao Hong ji 嬌紅記) by Liu Dui 劉兌 (printed 1435) is made up of two cycles. The male lead sings most of the arias, but the female lead also sings. 12. For example, the “opening male” sings in the wedge in the plays presented in chap. 1 and chap. 3, this volume. 13. Wang Jide, Wang Jide qulü, 41. 14. Xu Fuming, Yuandai zaju yishu, 99–120. 15. Ibid., 73–98; Idema and West, Monks, xvii. 16. For example, several female performers in Houses of Pleasure (Qinglou ji 青樓集) are said to “excel both as male and female leads” (danmo shuangquan 旦末雙全); see Yu Weimin and Sun Rongrong, Lidai quhua huibian, 484, 485, 496. 17. See Idema and West, Monks, xviii. 18. The translation of the title follows Stephen West’s rendering in “Literature from the Late Jin to the Early Ming,” 624. 19. Ibid., 621. The version of Lugui bu used in this volume is Zhong Sicheng, Jiaoding Lugui bu sanzhong (hereafter Lugui bu). 20. Zhong Sicheng, Lugui bu, 55. 21. For Yellow Millet Dream (Huangliang meng 黃粱夢), for example, Zhong Sicheng names a different playwright for each act (ibid., 13). Multiple versions of the same story also qualify our notion of “original creation.” On the designation of certain plays as “later versions” (ciben 次本) in Lugui bu, see Sun Kaidi, Sun Kaidi ji, 321–26. 22. West translates minggong 名公 as “famous noble” (“Literature from the Late Jin to the Early Ming,” 621). 23. Of the eighty-two zaju writers included in The Register of Ghosts, forty-three held office, but mostly in the lower echelons of the bureaucracy. See Tian Tongxu, Yuan zaju tonglun, 1:134–35. 24. Wang Guowei, Song Yuan xiqu shi, 76–77. 25. Shen Defu, Wanli yehuo bian 25.648. 26. The edition used in this volume is Zang Maoxun, Yuan qu xuan jiaozhu (hereafter YQX).

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27. See Yong Rong et al., Siku quanshu zongmu tiyao 199.4469; Wang Guowei, Song Yuan xiqu shi, 79. Wang’s book was completed in 1913 under the title A Study of Drama During the Song and Yuan Dynasties (Song Yuan xiqu kao 宋元戲曲考). 28. West, “Literature from the Late Jin to the Early Ming,” 560. 29. Zhu Jing, “Qinglou ji xu” 青樓集序, in Yu and Sun, Lidai quhua huibian, 466. 30. See West, “Interpretation of a Dream.” 31. Zhang Zhijiang, Zhang Qiang, and Jiang Jian, Wanjia sanqu, 7–10; for an English translation, see Idema and West, Monks, xii–xv. 32. See Hu Ji, Song Jin zaju kao, 311–26. 33. This play is translated in Idema and West, Monks, 283–313. 34. For translations of this play, see William Dolby, Grandee’s Son Takes the Wrong Career, in Eight Chinese Plays; Wilt L. Idema and Stephen H. West, A Playboy from a Noble House Opts for the Wrong Career, in Idema and West, Chinese Theater. 35. Mote, Imperial China, 282. 36. For example, Zhou Deqing 周德清 (1277–1365) characterizes the themes of Yuan plays as “loyalty” and “filial piety” (preface to Phonetics of the Central Plains [Zhongyuan yinyun zixu 中原音韻自序]). Xia Tingzhi (fourteenth century) argues that while Jin play texts were merely farcical skits, Yuan zaju plays “confirm normative human relationships and improve mores” (preface to his Houses of Pleasure [“Qinglou ji xu” 青樓集序]). Zhu Youdun 朱有敦 (1379–1439) maintains that zaju, just like the Classic of Poetry (Shijing 詩經), can “arouse edifying emotions, yield insights into mores, form ties in communities, provide the venue for expressing discontent” (“On the Autumn Scene in White Crane” [Baihezi yong qiujing xiaoyin 白鶴子詠秋景小引]). See Wei Fei and Wu Yuhua, Gudian xiqu meixue ziliao ji, 61–62, 65, 82–83. 37. He Liangjun, “Qu lun” 曲論, in Wei Fei and Wu Yuhua, Gudian xiqu meixue ziliao ji, 98. “Garlic and cheese” are associated with northern or specifically Mongol taste; see Luo Sining, Yuan zaju he Yuandai minsu wenhua, 79. 38. He Liangjun, “Qu lun,” in Wei Fei and Wu Yuhua, Gudian xiqu meixue ziliao ji, 87. He Liangjun said that he owned about three hundred Yuan plays in manuscript form. The term bense has multiple applications in different genres and also commands a wide semantic range in drama criticism. Gu Ying 顧 瑛 (1310–1369) used it to mean semantic and musical precision; Xu Wei 徐渭 (1521–1593) linked it to language proper to the role. See Wei Fei and Wu Yuhua, Gudian xiqu meixue ziliao ji, 74, 102. See also Gong Pengcheng’s discussion of the term in Shishi, bense yu miaowu. 39. Zang Maoxun, prefaces to Anthology, in YQX, 1:1, 11–12. 40. Wang Guowei, Song Yuan xiqu shi, 101–2. It is also ironic that Wang’s opinion is based on the somewhat more polished diction of Anthology. Wang Guowei did get to know about the Yuan printings in the 1920s, but only after he had finished his book. 41. See Fu Xihua, Yuandai zaju quanmu. 42. Li Kaixian, “Nanbei chake ci xu” 南北插科詞序, in Li Kaixian quanji, 320. 43. This number includes the plays found in Anthology; Sui Shusen, Extra Texts Not Included in the Anthology of Yuan Plays (Yuan qu xuan waibian); and Zhao Jingshen, Lost Fragments of Zaju Plays by Yuan Authors (Yuanren zaju gouchen). See Tian Tongxu, Yuan zaju tonglun, 1:170–72. 44. See Yan Dunyi, Yuan ju zhen yi. 45. See Ning Zongyi et al., Yuan zaju yanjiu gaishu, 325–34. Some of these titles also include Ming plays. 46. These texts were already grouped together when they were in the possession of Li Kaixian, Huang Pilie 黃丕烈 (1763–1825), and Luo Zhenyu 羅振玉 (1866–1940). Scholars have suggested that these Yuan texts might have been meant for the use of the actors or the audience. Wilt Idema (“Traditional

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47.

48. 49. 50.

51.

52.

13

Dramatic Literature”) believes that these are “role texts” providing the male or female lead with their own songs, their own lines or cue lines. See also Luo Sining, Yuan zaju he Yuan dai minsu wenhua, 9–11. Yuyang Xianshi (Immortal Scribe of Yuyang) was the sobriquet of two Ming playwrights, Wang Jide (d. 1623) and Chen Yujiao 陳與郊 (1544–1611), and it is also possible that book merchants made up this attribution (Idema and West, Monks, xvii). A note at the end of one play in this collection is signed “Woodcutter of the Western Mountain” (Xishan Qiaozhe 西山樵者), and the publisher is identified as the Xu family of Longfeng; see Zheng Zhenduo, “Ba Maiwang guan,” 373. On its discovery and significance, see Zheng Zhenduo, “Ba Maiwang guan.” See Li Kaixian, Li Kaixian quanji, 3:1699–1808. Li’s Revised Plays of Yuan Masters (Gaiding Yuan xian chuanqi 改訂元賢傳奇) had included sixteen plays. See Ye Tang, Nashuying quhua zhengji 納書楹曲話正集, cited in Zhang Yuezhong, Yuan qu tong rong, 1157; Wu Mei, Gu qu zhu tan, 92; Zheng Zhenduo, Xidi shu ba, 197; Sun Kaidi, Yeshi yuan gujin zaju kao; Idema and West, Monks, xxviii–xxxi. Late-Ming connoisseurs of drama, including Wang Jide, Xu Fuzuo 徐復祚 (b. 1560), and Ling Mengchu 凌濛初 (1580–1644), praised Zang’s anthology. Meng Chengshun, in Anthology of Famous Plays Past and Present (Gujin mingju hexuan 古今名劇合選), includes fifty-seven comments explaining why he followed Zang’s version or deviated from it, conveying a mixture of approbation and criticism. Scholars like Wang Guowei, Wang Jilie 王季烈 (1873–1952), Aoki Masaru 青木正兒 (1887–1964), Yoshikawa Kōjirō 吉川幸次郎 (1904–1980), and Xu Shuofang (1924–2007) all upheld the merits of Zang’s anthology. See Tian Tongxu, Yuan zaju tonglun, 1:174–81; Xu Shuofang, Xu Shuofang ji, 3–64. Altogether there are fifteen plays that exist only in Anthology. See Xu Shuofang, Xu Shuofang ji, 1:33–34.

Historical Plays

1 t H e Z H a o or PHan

By Ji Junxiang Trans laTed by P i-Twan Hua n g a n d wa i -yee li

introduction Wai - y e e l i

t

he earliest extant accounts of the historic Zhao lineage in Zuo Tradition (Zuozhuan 左傳, ca. fourth century b.c.e), Discourses of the States (Guoyu 國語, ca. fourth century b.c.e.), Gongyang Tradition (Gongyang zhuan 公羊傳, ca. third to second centuries b.c.e.), and Guliang Tradition (Guliang zhuan 穀梁傳, ca. third to second centuries b.c.e.) make no mention of the massacre and revenge that constitute the harrowing story of this play.1 Zuozhuan tells of the enmity between Lord Ling of Jin (r. 620–607 b.c.e.) and the Jin minister Zhao Dun (d. ca. 602), raises the question of Zhao Dun’s role in Lord Ling’s assassination, and chronicles the calamity that overtakes Zhao Dun’s brothers (583 b.c.e.) as a result of conflicts among them and power struggles between the Zhao and other ministerial lineages (Luan and Xi) in Jin.2 The story of the Zhao clan’s victimization and rehabilitation is told in Sima Qian’s 司馬遷 (ca. 145–ca. 86 b.c.e.) Records of the Grand Historian (Shiji 史記): in this account Tu Angu 屠岸賈, as overseer of punishment (his title is “marshal” in the play),3 punishes the Zhao clan because of Zhao Dun’s role in Lord Ling’s murder and brings about its near extermination in the third year (597 b.c.e.) of the reign of Lord Jing of Jin (r. 599–581 b.c.e.), and the surviving Zhao heir achieves his revenge fifteen years later (584 b.c.e.).4 The heir’s escape and vengeance are achieved through the help of Han Jue and the sacrifice of an unnamed baby (not Cheng Ying’s son),

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Gongsun Chujiu, and Cheng Ying. Cheng commits suicide after the extermination of Tu Angu’s clan “to repay the dead” (xiabao 下報); that is, he has to die to demonstrate that he is not benefiting from Gongsun Chujiu’s martyrdom. In The Great Revenge of the Zhao Orphan (Zhaoshi gu’er da baochou 趙氏孤兒大報 仇),5 or, abbreviated, The Zhao Orphan (Zhaoshi gu’er), Ji Junxiang 紀君祥6 (ca. late thirteenth to early fourteenth centuries) takes great liberties with the historical materials. He leaves out Lord Ling’s assassination and sets the whole play during Lord Ling’s reign. (The last act added in the Anthology takes place during the reign of Lord Dao [r. 573–558 b.c.e.]). He enlarges the role of the marshal Tu Angu as the archvillain and the mortal enemy of the minister Zhao Dun. Our play sharpens the contrast between Tu Angu’s heinous deeds and the heroism of friends and retainers loyal to the Zhao lineage, who commit various acts of supreme self-sacrifice so that its sole surviving heir may live. The keyword is bao 報, which means “to pay back” and includes both vengeance and requital. The wrong done one’s family must be avenged, but the unwitting adoption of the orphan by the very man who has sought to exterminate him provides an ironic twist in the plot. Thus filial ties form a subtheme running through the play—the ties between the orphan and his progenitors, the orphan and his savior and foster father Cheng Ying (who switches to calling the orphan Young Master after his identity is revealed), and the orphan and his putative father, who turns out to be the target of his revenge. Ultimately, vengeance as filial obligation trumps all other possible emotional ties (including filial affection), and the Zhao Orphan feels not the slightest compunction in turning against Tu Angu, who has raised him as a son. To the modern reader the absence of psychological conflict can seem jarring. The justice of the cause is never questioned, although the characters who are called upon to sacrifice their own or themselves under its aegis have moments of torment and self-doubt. The moral equation defining the imperative of vengeance also urges requital for beneficence or trust. For a meal bestowed in kindness when he is starving, Ling Zhe performs superhuman feats of bravery to save Zhao Dun. Cheng Ying gives up his own son because of the “extraordinary regard” he enjoys as Zhao Dun’s retainer.7 Han Jue pays with his own life to let the Zhao Orphan go because Zhao Dun “raised him to high office.” Recognizing great merit or lamenting grave injustice can also prompt self-sacrifice, as in the case of Chu Ni, the assassin sent to kill Zhao Dun and who is moved to commit suicide instead, or that of Gongsun Chujiu, who gives up his own life because he accepts the orphan’s future revenge as the ultimate just cause. Agency as expressed in the will to embrace sacrifice and martyrdom is what prompts Wang Guowei in 1913 to describe this play and The Injustice Done to Dou E (Dou E yuan 竇娥冤) as “having a tragic nature” more than other Yuan plays because “although these plays are interwoven with villains, the impetus to brave danger and death come from the will of the protagonists.”8 The Zhao Orphan is mentioned both in The Register of Ghosts and Zhu Quan’s Correct Sounds. The version of this play preserved in the Yuan Editions has four acts, two

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arias that would be turned into part of the wedge, and almost no spoken lines. The two extant Ming editions, one from Zang’s Anthology and one from Meng Chengshun’s Libation, contain five acts and a wedge, as distirict from the four-act format common to Yuan drama. (The two Ming editions are almost identical.) We are presenting here the versions from both the Anthology and the Yuan Editions.9 There are significant differences between these two versions. In the Yuan Editions, Tu Angu’s ambitions to usurp the Jin throne receive greater emphasis, and the Jin ruler is repeatedly excoriated for becoming a mere puppet of Tu’s. At the beginning of act 4, the Zhao Orphan, before his family history is revealed to him, declares his intention to assist his foster father, Tu Angu, in his plan to overthrow the Jin ruler. The Anthology edition tones down or deletes criticism of the Jin ruler and removes any suggestion that the Zhao Orphan, under other circumstances, could have become a usurper. The Yuan Editions version ends with the Zhao Orphan appealing to the Jin ruler for help, poised to undertake his revenge. The Anthology edition concludes with a fifth act, in which vengeance is accomplished and virtue is rewarded; order is restored through the Jin ruler’s edict and affirmed through the Zhao Orphan’s paean to the ruler’s justice. Wilt Idema has observed that “whereas the earlier version dramatizes a tale of revenge and counterrevenge of feuding clans, the later edition stresses the exclusive power of the state to settle such conflicts, not only in its added fifth act but also throughout the play.”10 One may add a slight qualification to this broadly accurate characterization: the arguably more raw energy of the Yuan version preserves the moral parameters of just vengeance, while the improved image of the Jin ruler does not quite suffice to contain the violence and logic of vengeance in the later play. About the playwright Ji Junxiang we know very little beyond his provenance of Dadu. Six plays are listed under his name in The Register of Ghosts; The Zhao Orphan is the only extant one.11 This play is the first piece of Chinese dramatic literature to be introduced to the Western world. It was translated into French in 1731 by a Jesuit missionary, Joseph Henri Marie de Prémare (1666–1736), who included only the prose dialogues and omitted all the arias. He explained that the arias contain too many allusions that are hard to understand. Prémare’s play enjoyed great success and was subsequently adapted into English, Italian, and German.12 The best-known version is that of Voltaire (1694–1778), L’orphelin de la Chine, which was performed at the Comédie-Française and characterized as “the morals of Confucius in five acts.” The Ming chuanqi play Eight Righteous Ones (Ba yi ji 八義記) by Xu Yuan 徐元 (late sixteenth century), included in Mao Jin’s 毛晉 (1599–1659) Sixty Plays (Liushi zhong qu 六十種曲), is also based on the story of the Zhao Orphan’s revenge. Searching for the Orphan, Saving the Orphan (Sougu jiugu 搜孤 救孤) continues to be one of the most popular set pieces on the stage of Beijing opera and other regional operatic traditions. This play was translated by Liu Jung-en in Six Yuan Plays (1972) and by Pi-twan Huang in Renditions (1978). We are presenting a revised version of Huang’s earlier translation.

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tHe ZHao orPHan D r a m at i s P e r s o n a e

Role type Comic Opening Male Female Lead Extra Male Male Lead Male Lead Male Lead Extra Male Zhang Qian Soldiers Servant Boy Messenger Baby Guards

Name, social role Tu Angu, the marshal Zhao Shuo, the prince consort Princess, Zhao Shuo’s wife Cheng Ying, a physician, Zhao Shuo’s retainer Han Jue, a general under Tu Angu Gongsun Chujiu, a retired counselor to Lord Ling of Jin Cheng Bo, Zhao Shuo’s son, the Zhao Orphan Wei Jiang, minister of high rank Wei Jiang’s guard

We D g e

(Comic dressed as Tu Angu enters, leading a couple of Soldiers.) Tu Angu (recites:) Though the man intends no harm to the tiger, The tiger against the man does conspire. A battle that is not now properly won Will yield troubles when all’s said and done. I am Tu Angu, marshal of the domain of Jin. My master Lord Ling13 is on the throne, and among his thousand officials he trusted only one civil minister, Zhao Dun, and one military commander—myself. What with the rift we suffered, I have long wanted to get rid of Zhao but never had the chance to lay my hands on him. The son of that Zhao Dun is called Zhao Shuo, he is the lord’s son-in-law. I did send a brave man, Chu Ni, armed with a dagger, to climb over the wall of the Zhao residence to assassinate him—who would have guessed that he would instead die by smashing himself against a tree! It turned out that Zhao Dun, while speeding the plow14 in the countryside, had once seen a starving man on the verge of death under a mulberry tree. Zhao Dun gave him wine and food and let him eat his fill. The man then departed without taking leave. Sometime later the Western Rong

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tribe sent as tribute a hound called the Divine Ao,15 which Lord Ling in turn bestowed upon me. When I got the hound, a plan to finish off Zhao Dun came to mind. I had the hound locked up in an empty room and let him go without food for a few days. Then I had a straw man set up in the back garden, dressed exactly like Zhao Dun—purple robe, jade belt, a pair of black boots, and an ivory tablet16 in its hands. Inside the straw figure were hung some sheep viscera. I took the hound out, ripped open the purple robe, and let him eat his fill. Afterward, I locked the dog up in the empty room and again starved him for a few days. This time when I let him out, he immediately sprang at the straw man and started biting. I again cut open the robe and let the dog devour what was inside. After repeating this experiment for about a hundred days, I figured the hound could do the job. I then went to have an audience with the lord and told His Lordship that a disloyal and unfilial person was plotting treason. Hearing this, the lord was furious and asked me who this man was. I answered that the Divine Ao from the Western Rong was endowed with supernatural powers and could sniff out the traitor. The lord was very pleased. He said, “During the times of the sage-kings Yao and Shun, there was an animal called xiezhi that would attack with its horn any miscreant.17 Who would expect that we also have a Divine Ao among us! Where is the hound now?” So I led the hound in, and Zhao Dun was then standing beside the lord’s seat wearing a purple robe and a jade belt. As soon as the hound caught sight of him, it pounced upon him and started to bite. Lord Ling said, “Tu Angu, let go of the dog. That’s the traitor right here!” I let the hound loose and it chased Zhao all around the hall. But this roused the ire of someone right there, the officer of the palace guards Ti Miming. With just one strike of his melon-shaped mallet, Ti knocked down the beast. Then, seizing the hound’s scalp with one hand and holding his jaw with the other, Ti rent the hound in two. Zhao Dun, who had fled from the court gate, looked for his carriage with its team of four horses. However, I had already had two of the horses taken away and one of the two wheels of the carriage removed. When Zhao Dun got into the carriage, it could not move. At this juncture a strong man sprang forth from the side. Steadying the carriage with one arm and lashing the horses with the other, he forged a path by overcoming every obstacle and managed to take Zhao to safety. Who do you think the man was? He was none other than Ling Zhe, that starving man under the mulberry tree.18 I then made my case with Lord Ling and had the entire Zhao clan eliminated—high and low, some three hundred men, women, and children in all. Now there’s only Zhao Shuo, who’s with the princess in the lord’s palace. As the lord’s son-in-law, he cannot be so easily put to death without proper procedure. As the saying goes, “Eradicate the root and there will be no sprouting”: I thus forged an edict in the name of the lord and sent a messenger to Zhao Shuo bearing the three gifts of death from the court: a bowstring, some poisoned wine, and a dagger.19 He is to choose one and commit suicide. I have

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instructed the messenger to waste no time on the road and come back quickly to report to me. (Recites:) Kin and kith—all three hundred have been erased, Leaving behind Zhao Shuo, the lone survivor. No matter now which gift of death he is to taste, The root will be with the grasses laid waste. (Exits.) (Opening Male dressed as Zhao Shuo and Female Lead dressed as the Princess enter.) Zhao Shuo: This humble official is Zhao Shuo, by rank an assistant commander. Who would have thought that just because Tu Angu opposed my father he would have slandered him and manipulated the lord to have all three hundred members of our clan executed! My princess, please hear my last words. You are now pregnant. If the baby turns out to be a girl, there is nothing to be said. If it is a boy, I will now name him, while he is still in your womb, the Zhao Orphan, hoping he will avenge my parents when he grows up to be a man. Princess (weeping:) How can I bear this! (Extra Male dressed as the Messenger enters with Guards.) Messenger: By order of His Lordship, I am to present Prince Consort Zhao Shuo with the three gifts of death, a bowstring, some poisoned wine, and a dagger. He is to choose a speedy death with one of them. Then we are to confine the princess to the palace. I must convey the order at once and without delay. Now, here I am, already at the gate of the palace. (Greets Zhao Shuo.) On your knees, Zhao Shuo, and hear the lord’s decree: You of the Zhao lineage are disloyal and unfilial, lawless and treacherous. Putting your whole clan to death would scarce be punishment enough. But because you, Zhao Shuo, are related to the lord’s family, we cannot bear to put you to the sword. We hereby bestow on you the three gifts of death. You can choose to die by one of them. As for the princess, she is to be confined to the palace, entirely cut off from kith and kin. Now, Zhao Shuo, the lord’s decree brooks no delay. You must kill yourself quickly. Zhao Shuo: Oh, Princess, what is to be done! (Sings:) [Xianlü mode: Time to Appreciate Flowers] How unjust that one loyal like me should come to this abrupt end, While the traitor, a vermin of the domain, holds power in his hands! With trumped-up charges he plotted To have me cut down at the Yunyang execution ground.20 Is this then how loyal exertion comes to its final round! Princess: Oh, heavens! Woe betides us—we’ll die violent deaths with no place of burial! Zhao Shuo (sings:) [Same tune as above]

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I will not even get to be buried in the ancestral mound!21 Princess, do not forget what I’ve told you. Princess: I understand. Zhao Shuo (sings:) I have given final counsel, and tears stream down my cheeks like rain. Every word is uttered with pain: Wait till the child is grown— Be sure to have him avenge the unjust deaths of the three hundred! (Stabs himself and dies. Exits.) Princess: My lord! This grief is killing me! (Exits.) Messenger: Zhao Shuo stabbed himself and died. The princess is imprisoned in the palace. I must go back to report to my master. (Recites:) When the Western Rong presented the divine hound, Hundreds in the Zhao line suffered woes profound. Pitiable indeed, even the princess is in prison; How could Zhao Shuo not to swift death be bound! (Exits.)

ac t 1

(Tu Angu enters.) Tu Angu: This is Tu Angu. I fear that the princess might have given birth to a son. When he grows up, will he not be my enemy? I already have the princess confined to the palace. By now she should have already given birth. Why has the man I sent over not come back to report to me? (Soldier enters and reports.) Soldier: Reporting to the marshal: the princess, imprisoned in the palace, has given birth to a son; he is named the Zhao Orphan. Tu Angu: The Zhao Orphan indeed! It wouldn’t be too late to put an end to the brat when it is a full month old. Convey my orders to Han Jue, general of the lower army:22 tell him to guard the gates of the princess’s palace. No need to search anyone who enters but search everyone who comes out. If anyone tries to smuggle out the orphan, his whole family will be executed, all his nine sets of relations23 will be put to death. In the meantime, put up notices everywhere and make it known to all the officers that no one is to take these orders lightly on pain of punishment. (Recites:) I didn’t bargain for the princess’s being in a family way— That she should give birth to the orphan, my enemy someday! Let him live another month—with a knife I’ll have him killed. Only then will my wish to root out the whole clan be fulfilled. (Exits.) (Princess enters carrying a Baby.)

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Princess (recites:) The troubles of all under heaven Have converged as my heart’s sorrow. Like rain on an autumn night, Each drop carries a sound of plight! I am a princess of the House of Jin. The treacherous Tu Angu has killed our entire Zhao family. Today I gave birth to a son. I recall my husband’s final words: he bade me, if we should have a boy, to name him the Zhao Orphan and have him avenge his parents when he grows up. O heavens! How can I get the child out of the palace! If only that could be done! Ah, yes, it’s just occurred to me. Though we no longer have any kinsmen left, there is still the old retainer Cheng Ying, who is not listed as a member of the family. Now I’ll just wait for Cheng Ying to come—I shall know what to do. (Extra Male dressed as Cheng Ying enters with a medicine chest on his back.) Cheng Ying: I am Cheng Ying, a commoner physician. I was a retainer in the household of the lord’s son-in-law, who treated me with extraordinary regard, much better than he did others. But the perfidious Tu Angu has had all members of the Zhao clan killed. Fortunately, my name was not included on the list. At present the princess is imprisoned in the palace, and I have been delivering meals to her every day. Though the princess has just given birth to a son—the Zhao Orphan—who may someday grow up to avenge the wrongs done to his family, I fear it will all be in vain if he cannot elude the treacherous Tu Angu. I heard that the princess has sent for me—I figure she needs some medicine after childbirth. I have to make my way there. Here I am at the gate already. No need to bother the guard to announce me. I’ll go straight in. (Presents himself to the Princess.) Princess, why have you sent for me? Princess: What a bitter end for our Zhao clan! Cheng Ying, I have summoned you for no other business but this: I have now given birth to a son. As his father lay dying, he gave him the informal name of the Zhao Orphan. Cheng Ying, you have been serving the Zhao clan for some time and we have never treated you ill. Do what you can to smuggle the child out so that when he grows up, he can avenge the Zhao line. Cheng Ying: Princess, haven’t you heard? After the perfidious Tu Angu got news that you gave birth to a child, he had notices posted on the four city gates announcing that if anyone attempts to hide the child, his whole family will be executed, none among his nine relations will be spared. How can I possibly get the baby out? Princess: Cheng Ying! (Recites:) Isn’t it said, “Think of your kin in face of crisis, Seek out an old friend when danger arises.” If you can smuggle out this son of mine, You will have preserved the last hope of the Zhao line. (Kneels.) Have pity, Cheng Ying! Revenge for the three hundred all depends on this child. Cheng Ying: Princess, please rise. What if I smuggle out the young master and Tu Angu gets word of it? He will then ask you for the Zhao Orphan, and if you say,

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“I gave him to Cheng Ying,” then not only will my entire family be put to death— that will also be the end of the young master. Princess: Alas! The end! In that case, I will let you go with peace of mind. (Recites:) Cheng Ying, have no fear in your heart. As tears stream down, listen to my part: His father killed himself with a dagger. (Hangs herself with a sash from her skirt and speaks:) Alas! The end! His mother will now follow suit and expire! (Exits.) Cheng Ying: Who would have expected the princess to hang herself ! I dare not tarry. Let me open the medicine chest, put the young master in, and cover him with some herbs. Heavens! Take pity on this little one—the only one left after three hundred of the Zhao clan have been killed! If I can save you, child, it will be your good fortune, and my mission will be accomplished. It you are found out, not only will you die, my whole family will also be wiped out. (Recites:) In my heart I weigh plans and deliberation: The fate of the Zhao house indeed calls for lamentation! If only you can escape this impossible gate, You will have been saved from the most horrible fate! (Exits.) (Male Lead dressed as Han Jue enters with Soldiers.) Han Jue: I am Commander of the Lower Army Han Jue, serving under Marshal Tu Angu. Do you know why he ordered me to guard the palace of the princess? It’s because she gave birth to a son, named the Zhao Orphan. He fears that someone may attempt to smuggle the baby out. He has sent me to guard the gate: if I find someone hiding the child, I am to put his whole family to death, not sparing any of his all nine sets of relations. Soldiers, guard the gates of the palace closely! Alas! Tu Angu, as you persist in your persecution of the just, what will be the end of it all! (Sings:) [Xianlü mode: Touching Up Red Lips] Among the domains vying for dominance, Jin has risen to prominence. Peace and order we have enjoyed. How did it happen that by the treacherous Tu Angu Are the loyal and filial ministers destroyed! [River Churning Dragon] Just when there are years of peace and bounty ripe, The court favors people of this stripe! The loyal and filial are beheaded in the marketplace While the wicked and perfidious are secure in their official base. Now it is he that holds complete sway over our domain— What room is there for sharing power, even with the lord! He places his minions all over the court—

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Those opposing him have long been eliminated one by one. I fear he can only be called a scourge of the human realm, Why bother with the pretense of being a general at the helm?24 I wonder when the deep-rooted hatred between the clans of Tu Angu and Zhao Dun will ever end? [Oily Gourd] He wants to exterminate the seeds of all future troubles, And so has ordered me to keep guard at the palace gates. I too have served the country for long as a loyal subject. The one who hides the orphan should not have hidden him, But the one who kills the orphan—how ruthless and grim! Tu Angu, how cruel you are! Someday you’ll enrage heaven on high And draw the fury of the people nigh. How can you not fear myriad mouths with censure brimming? Even heaven will turn on you its blue face, unforgiving! [Joy for All Under Heaven] Don’t they say retribution will come sooner or later, befalling on your progeny or yourself ? Alas, you villain! Along with Zhao Dun You have served these twenty years, how can you be void of empathy? Your heart plots, your heart goodness blots, Branding a worthy man a worthless man. Which of you two is the ruthless one, when all is said and done? Guards, keep watch at the gate! If anyone comes out of the palace, report to me. Soldiers: Yes sir. (Cheng Ying enters nervously.) Cheng Ying: The Zhao Orphan is in the medicine chest I am clutching. Merciful heavens! Fortunately, it’s General Han who is guarding the gate. Our old master raised him to high office.25 If I can get through, both the young master and I will be safe. (He goes out the gate.) Han Jue: Captain, bring back the man clutching the medicine chest. (To Cheng Ying:) Who are you? Cheng Ying: I am a commoner physician, surnamed Cheng—I am Cheng Ying. Han Jue: Where did you come from? Cheng Ying: I’ve been preparing some medicine in the princess’s palace. Han Jue: What did you prepare? Cheng Ying: A restorative potion for the mother. Han Jue: What’s in the chest? Cheng Ying: Medicinal herbs. Han Jue: What sort of herbs?

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Cheng Ying: Nothing but balloon flower root, licorice, and mint. Han Jue: Anything concealed? Cheng Ying: No sir. Han Jue: You may go then. (Cheng Ying takes leave. Han Jue calls out to him.) Come back, Cheng Ying, what do you have in the chest? Cheng Ying: Nothing but herbal medicine. Han Jue: Anything hidden in it? Cheng Ying: Nothing, sir. Han Jue: In that case, go along. (Cheng Ying walks away. Han Jue calls out to him.) Come back, Cheng Ying. You must be hiding something from me. When I let you leave, you went like an arrow flying from a crossbow; but when I called you back, you sidled back like a piece of fur dragged over a rug. Cheng Ying, you think I don’t know you? (Sings:) [West of the River version of Flowers in the Rear Courtyard] You were originally Zhao Dun’s honored guest, But I am now a retainer who acts at Tu Angu’s behest. Even if you’re hiding the scarcely month-old precious young heir, (speaks:) Look, Cheng Ying, (sings:) How can you escape from this impregnable tiger’s lair? If I were not the commander of the lower army, I would not be interrogating you. (Speaks:) Cheng Ying, I think you must have received many favors from the Zhao house. Cheng Ying: Yes. To know kindness is to pay back with kindness; what more is there to be said? Han Jue (sings:) You said that to know kindness is to pay back with kindness. But I am afraid the desire to escape does not mean escape. In front of you and behind you are guarded gates, Between heaven and earth, where can you flee? If we arrest you and by cross-examination get to the truth And report the case about the orphan, You will not live; Death is certain. (Speaks:) Captain, stay back there. Come only if I call you. Otherwise, don’t come. Soldiers: Yes sir. Han Jue (opens the medicine chest:) You said there were only balloon flower root, licorice, and mint. Now I’ve found ginseng!26 (Cheng Ying appears frightened, kneels down, and cowers.)

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Han Jue (sings:) [Golden Cup] I see on the orphan’s forehead sweat in streaks. From the corner of his mouth, milk leaks. His little shining, wide-open eyes try to recognize the guest. All quiet, he seems to be swallowing his voice in the chest— It’s so tight: he can’t stretch his feet. It’s so narrow; how can he turn? In truth, “To become a man is to not have it easy, Having it easy is to not become a man.”27 Cheng Ying (recites:) Your Honor, please check your fury and calm your anger, Let me tell the tale from the beginning with candor. Zhao Dun was a worthy minister of the Jin house, And jealousy brewed in the heart of Tu Angu. He sent the Divine Ao to pounce on a man most just, Who managed to escape from the court gate, for flee he must. Driving the one-wheeled carriage, Ling Zhe kindness repaid, They fled to the deep mountains, the pursuers they did evade.28 Lord Ling, alas, believed the slander And let the villain Tu Angu act as commander. For the lord’s son-in-law, the choice to die by the dagger was what he got, For all nine sets of relations, extermination was their lot. The princess was imprisoned in the palace, Whence the kinsfolk who could give her solace? Following her husband’s final wish, she named her boy the Zhao Orphan, But even then mother and son could not unite for certain. Soon after the birth the mother took her own life, Entrusting me with the protection of the child. In due time when he is grown, He can tend the graveyard of the Zhao house. I came across you, General, just by chance, My earnest hope is that that you would the Zhao cause advance. If you nip the last bud of this family, It would be the very end of the Zhao house. Han Jue: Cheng Ying, if I were to hand the baby over to Tu Angu, wouldn’t it mean riches and high position? But I, Han Jue, am a man, good and true. How can I do a thing so base! (Sings:) [Heaven for the Drunken] If I were to hand him over for the sake of honors and advancement, Wouldn’t it be bringing myself gain, and others pain?

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Woe indeed, none among the three hundred in his clan found reprieve. Who can avenge this everlasting grief ? If Tu Angu sees this orphan, Would he not grind skin and bones—the baby’s last crust— All to dust? As for me, I have no reason To curry favor with such an unconscionable service!29 Cheng Ying, take the child and go. If Tu Angu should ask, I’ll think of something to tell him. Cheng Ying: Thank you, General. (Cheng Ying leaves, holding the chest in his arms, then comes back and kneels down.) Han Jue: Cheng Ying, I said I’m letting you go. Do you think I’m fooling you? Go quickly. Cheng Ying: Thank you, General. (Goes, comes back again, and kneels.) Han Jue: Cheng Ying, Why are you back again? (Sings:) [Golden Cup] He probably doubts my sincerity in letting him go— Can he not see how the orchid sighs when its fragrant kin dies?30 Going or not? Again and again I let him have his tries. Why did he go all the way to the gate And suddenly turn back? (Speaks:) Cheng Ying, (sings:) Since you lack overweening courage,31 Why take it upon yourself to be guardian of the orphan? Haven’t you heard, “Loyal subjects are not afraid of death, Those afraid of death are not loyal subjects”? Cheng Ying: General, if after I leave this palace gate, you report it to Tu Angu, he will then send some other general to arrest me, and there will not be the slightest chance for the orphan to survive. Well, well, General, you might as well arrest me now and turn us in for the reward. I’m willing to die with the baby. Han Jue: Cheng Ying, I can see that your mind is not at ease even when I let you go. (Sings:) [Helped Home Drunk] You are preserving the last heir of the Zhao line. As for the villain Tu—what relation is he of mine? Why should I pretend to do you a favor and send away the troops, Only to have you arrested in a roundabout way? If you are loyal, I am also one of good faith. If you are willing to sacrifice your life, I too will not begrudge letting this head go.

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[Blue Song] Indeed, mere words, mere words cannot tell all. (Speaks:) Cheng Ying— (sings:) How your eyes, your eyes lack pearls of discernment!32 Now take the orphan with you and go hide deep in the mountains. Teach him well how to become a man With learning literary and martial, So that someday he will regain command of the three armies33 And bring the villain to book. He is to risk life and limb To repay what is owed the souls of the dead. The hardships we suffer and the risks we take Will then not be in vain. (Speaks:) Cheng Ying, go in peace. (Sings:) [Coda] I would rather answer for my life clean and clear Than the villain’s interrogation and torture endure. I will smash my head against the marble steps and die. Even if it may not earn me eternal fame as death I defy, I will at least have Chu Ni’s loyal spirit nearby. You must take good care of the child: For his needs day and night you should cope, Remember for the Zhao line he is the last hope. Only when he is grown should you tell him the old story34 And see to it that he takes revenge against the enemy, And he is not to forget me, his great benefactor! (Cuts his own throat. Exits.) Cheng Ying: Alas! General Han Jue has killed himself ! What if the guards find out about this and report to Tu Angu? I must take the child and run away. (Recites:) General Han is truly loyal and just, To save the orphan he put himself to the sword. Now at last without fear go I must: At Peace Village we will have another accord. (Exits.)

ac t 2

(Tu Angu enters with Soldiers.) Tu Angu: Better not be too concerned about things; if you do, you lose your peace of mind. Because the princess gave birth to a son that she called the Zhao Orphan,

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I sent General Han Jue to guard the gates of the palace and search for possible miscreants. In the meantime I have posted notices announcing that anyone hiding the child would have his whole clan executed—none of his nine sets of relations would be spared. Short of taking flight, there is absolutely no way for the orphan to escape. It is getting late, why hasn’t anyone brought the child here yet?35 That makes me uneasy. Send someone to look outside the gate! (Soldier enters.) Soldier: Reporting to the marshal: we have a disaster on our hands! Tu Angu: Whence the disaster? Soldier: The princess has hanged herself in the palace with a sash from her skirt, and General Han, who was guarding the gate, has put himself to the blade. Tu Angu: Why did Han Jue kill himself ? The orphan must have escaped. What should I do? Let me think—yes, I have it. I have no choice but to forge a decree in Lord Ling’s name to have all the babies in the realm from one to six months old36 seized, and I will have each and every one of them chopped into three pieces. The orphan will surely be among them. Won’t this take care of my deepest worry? Guards, post notices for me: Have all babies in the Jin domain aged over a month and under half a year brought to the marshal’s headquarters. Anyone who disobeys will be put to death with his whole clan. (Recites:) I’m rounding up every baby in Jin. There’s no place the orphan can hide therein. Of what avail is his noble lineage? He will not be able to escape my sword! (Male Lead dressed as Gongsun Chujiu enters with his Servant Boy.) Gongsun Chujiu: This old man is Gongsun Chujiu, a middle-rank official at Lord Ling’s court.37 I am getting on in years, and Tu Angu’s dominance at court made it impossible for me to discharge my duties, so I have given up office and have taken up farming. Now with a thatched house, a modest plot of land,38 and hoe in hand, I live in Peace Village. I used to pass my nights in a small tent listening to the chilling calls of the bugle. Now I lean against my wooden gate counting the lines of wild geese in the sky.39 What leisure and tranquillity! (Sings:) [Nanlü mode: One Sprig of Blossoms] In truth, real men are thwarted and hounded, Veritable pillars of domain are pounded. Those filthy dog butchers of little merit Tried to bully this turtle angler of grand spirit.40 We happen to have the benighted Lord Ling, Who perversely rewards the wicked with cover And makes the worthy suffer. Had I not from the swift current stepped back, I would have yielded my head in the marketplace to their attack!

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[Liangzhou Number Seven] At his headquarters the marshal parades his powers and might, I withdrew from office and in farming in Peace Village seek respite. The insignia and privileges41 of the official are for me a long-gone sight. His rank is now the highest, His position is supreme, like the three ministers.42 His fief extends over eight counties, His emolument amounts to a thousand bushels.43 He turns a blind eye to injustices, And turns a deaf ear to curses. On flatterers he confers the greatest honors and distinction,44 To enemies of the loyal and just he offers profit and promotion, For embezzlers undermining the realm he provides titles and recognition. He only knows that gratification of the moment holds him in thrall, Unaware that, the higher one climbs, the harder one will fall. Far better is my life of keeping to the fields, as I learn to till the land. Long have I leapt out of the hungry tigers’ den where injury’s the measure: I finally enjoy carefree leisure. (Cheng Ying enters.) Cheng Ying: Cheng Ying, you are so nervous! Young master, you are in such danger! Tu Angu, you are so very ruthless! Though I’ve risked my life and managed to get out of the city, I heard that Tu Angu, after he found out that the orphan was gone, has ordered all babies from one to six months old seized and brought to the marshal’s headquarters. Whether it’s the orphan or not, he will personally chop each and every one of them in three. Where then can I send the young master? Oh, yes, I have it. I remember there is a certain Gongsun Chujiu in Peace Village—he served with Zhao Dun at court and was one of his best friends. He is now retired and has taken to farming. This old minister is a loyal and just man. Surely I can hide the child there. Now I am in the village. Let me put down the medicine chest in this thatched shed. Young master, just rest for a while. After I see Gongsun Chujiu, I will come back for you. Lad, tell your master that Cheng Ying wishes to see him. Servant Boy (to Gongsun:) There is a man called Cheng Ying at the door. Gongsun Chujiu: Ask him to come in. Servant Boy: Please come in. Gongsun Chujiu (greets Cheng Ying:) Cheng Ying, what has brought you here? Cheng Ying: Your humble servant learned that your honor is living in this village, so I have come to pay you a visit. Gongsun Chujiu: How have the officials at court been doing since I left office? Cheng Ying: Alas, it’s no longer the same as in the days when Your Honor was at court. Now Tu Angu prevails and holds all the power in his hands. Things are completely different.

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Gongsun Chujiu: Someone should perhaps urge the ministers to remonstrate with the lord. Cheng Ying: Your Honor, there have always been treacherous officials like him since ancient times. Even in the days of the sage-kings Yao and Shun, there were the Four Scourges.45 Gongsun Chujiu (sings:) [Coda for the Turning Point] You may say since times of yore rulers have often been deceived, And even during the reign of sage-kings there were the Four Scourges. But who’s like him? Hated by millions, rejected by legion, but favored by one. He is both corrupt and unjust. The fabric of loyalty and filial piety he has rent, Not a single seed can escape: on the eradication of the Zhao clan he is bent. Cheng Ying: Your Honor, fortunately heaven is just. The Zhao clan has not been totally wiped out. Gongsun Chujiu: Three hundred in the clan, high and low, all were exterminated. Even the prince consort was forced to take the court’s “gifts of death,” and the princess also hanged herself. Who could still be left? Cheng Ying: No more need be said on what you already seem to know. But recently, the princess gave birth to a boy while imprisoned in the palace and named him the Zhao Orphan. Isn’t he an offspring of the Zhao line? I am just afraid that if Tu Angu ever gets word of this, the little one will certainly not be spared. If he too is killed, it will really be the very end of the Zhao line. Gongsun Chujiu: Where is the orphan now? Has anyone rescued him and brought him out? Cheng Ying: Since Your Honor takes pity on the Zhao line, dare I not tell the truth? Before the princess took her own life, she entrusted the child to me, charging me to bring him up to avenge his parents. When I brought him to the gate, we were caught by General Han Jue, who was going to report to Tu Angu. Only after I pleaded with him did General Han finally let us go and kill himself. But now I have no place to hide the child, so I have turned to you for help. I thought that since Your Honor served with Zhao Dun at court, you must have been good friends. Take pity on the child and save him! Gongsun Chujiu: Where is that orphan now? Cheng Ying: I left him under the thatched shed. Gongsun Chujiu: Don’t frighten the child. Bring him here quickly. (Cheng Ying brings in the chest, opens it, and looks in.) Cheng Ying: Thank heavens! The young master is still asleep. Gongsun Chujiu (takes the child and sings:) [Sheep-Herding Pass] This child, before he was born, lost all his kin. While still in his mother’s womb, his forebears met their demise.

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Even if he grows up, he may bring ruin rather than luck. His father was executed at Yunyang. His mother was jailed in the palace. How can he become a minister reeking of blood, one whose humble roots his rise confirm? He may be no more than a thoughtless black-headed worm.46 Cheng Ying: But all the wronged souls of Zhao rely on him for vengeance. Gongsun Chujiu (sings:) You take him for a true man who will avenge his father and mother, To me he is nothing but a seed of misfortune that ensnares another. Cheng Ying: Your Honor, you probably don’t know this: because the Zhao Orphan escaped, Tu Angu has ordered all the babies in the domain be seized and brought to him to be killed. Your Honor, I would like to hide the baby with you—for one thing to repay the kindness of the prince consort, for another to save the lives of the babies in Jin. I am almost forty-five and have just had a boy who is not yet a month old. I’ll disguise my child as the Zhao Orphan and Your Honor can report to Tu Angu that Cheng Ying is hiding the orphan. Let him kill me with my own son. Your Honor can take the time to bring up the true orphan to avenge the injustice done to his parents. Wouldn’t that be a good plan? Gongsun Chujiu: How old are you now, Cheng Ying? Cheng Ying: Your humble servant is forty-five. Gongsun Chujiu: It will take twenty years before the child can avenge his parents. You’ll be only sixty-five in twenty years. But if I were to live another twenty years, wouldn’t I be ninety? One can’t even be sure if I will still be alive then, let alone avenge the Zhao line! Cheng Ying, if you are willing to sacrifice your son, bring him to me and report to Tu Angu that Gongsun Chujiu has the orphan hidden in Peace Village. Tu Angu will come with his troops and arrest me. I’ll die with your son. You can then bring up the orphan and have him take revenge. This is a much better plan. Cheng Ying: Your Honor, it may seem so, but how can I have the heart to let you go through all this? It’s better if you pretend that my child is the orphan and denounce us to Tu Angu. Let us, father and son, die together. Gongsun Chujiu: Cheng Ying, I have given my word. No need to waver. (Sings:) [Red Peony] It will take twenty years before you can repay your master, That will be your moment of satisfaction. Sooner or later I will die, and all our efforts will be for naught. Cheng Ying: Your Honor, you are still hale and hearty. Gongsun Chujiu (sings:) My energy, unlike former days, is with decline fraught. If bereft by my sudden death, how can the child accomplish anything?

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Old age is not ravaging you, not quite yet— It’s just the right time for you to take up the Zhao cause and show your flair. (Speaks:) Cheng Ying, just do as I say. (Sings:) In truth, for me the morning drums and evening bells are hard to bear. Cheng Ying: Your Honor, you were leading a peaceful life at home. It is I, Cheng Ying, ignorant of propriety, who have passed such a miserable burden to you. That is why I cannot let go! Gongsun Chujiu: Cheng Ying, what are you talking about! I am already seventy—it’s natural for me to die at this age. What difference do a few days make! (Sings:) [Bodhisattva of Liangzhou] Turn to this puppet-show tent, Beat the drum, play the flute—the show we invent: Regard this only as a brief dream. Suddenly I turn back: worn and gone is the hero too old. If his kindness is not requited, how can we be united? To see duty and not embrace it is to lack valor!47 Cheng Ying: Now that Your Honor has promised, please don’t go back on your word. Gongsun Chujiu (sings:) If promises are not kept in good faith, how can they matter? Cheng Ying: Your Honor, if you can save the Zhao Orphan, your name will be emblazoned in history and remembered forever. Gongsun Chujiu (sings:) There is no need to ply me with praise polite. For a true man death is almost trite. Let alone one like me whose hair has long turned sparse and white. Cheng Ying: Your Honor, there is one more thing. Once Tu Angu seizes you, will you be able to hold out against all the torture? You may yet confess and implicate me. For me to die with my son is but my duty. But if the Zhao Orphan were to also end up dying, wouldn’t your sacrifice then be in vain? Gongsun Chujiu: Cheng Ying, what you say is true. For Tu Angu and the Zhao prince consort, (sings:) [Third to Last Coda] They have sown deep enmity between them. Once Tu Angu hears of the whereabouts of the orphan, He will send his troops to besiege this village for certain, Forming a crucible as airtight as an iron barrel. (Speaks:) Then, Tu Angu will seize me, and shout, “You old wretch, don’t you know the order I posted three days ago? Now you of all people should harbor the Zhao Orphan and defy me. Well, well, well, this way, please. (Sings:) Say, you old wretch, please step into this earthen cauldron.48 Don’t you know? When an official notice is taken down, even heaven is shaken.49

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To think that you, a mere old farmer who has left office for a rustic field Should dare to provoke wasps or scorpions that venom yield! [Penultimate Coda] Trussing, splaying, hanging, and beating: he will try every torture. His goal would be to wring every clue and detail from me for sure. Then, for my withered skin and brittle bones the pain would be too much, And I could not help but confess the truth as such. I know these are what you, Cheng Ying, fear. (Speaks:) Cheng Ying, set your mind at rest. (Sings:) My promise is worth a thousand pieces of gold. Even if I am dragged up a mountain of knives or impaled on a peak of swords, Never would I let early resolve lose hold. (Speaks:) Cheng Ying, go in peace. See to it that this orphan grows up to be a man and avenge his parents: the death of this old man is not worth mentioning. (Sings:) [Coda] Relying on the branch and shoot of the Zhao clan that will last a thousand years, The Jin house will be upheld, lording over impregnable terrains and frontiers.50 His great talent will shine as troops he commands, in his vision That brings all the other domains to submission. He will then bow to all the court officials and tell them the bitter truth: In the Lower Palace calamity began.51 Woe indeed! Three hundred died by the sword in the Zhao clan, Leaving behind only a helpless child that destiny outran. At long last today he is to inherit his patrimony, With tears streaming down he is to speak of acrimony. Why wait for a formal order from the lord? Already the treacherous one is seized at his marshal’s headquarters. Decapitated and quartered: he is offered as sacrifice to the orphan’s ancestors. All his nine relations are put to death; none is spared. Only then will you have just requital for the life you gave in order the orphan to save, And even I would gladly embrace a final resting place by Yao Li’s roadside grave.52 Cheng Ying: Time is running out. I’ll take the boy back home and send my son over to Peace Village as planned. (Recites:) I am willing to secretly give my own child In return for the orphan of the Zhao clan. To do this I act as one bound by duty, But pity indeed Minister Gongsun, who bears the calamity! (Exits.)

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ac t 3

(Tu Angu enters with Soldiers.) Tu Angu: So the Zhao Orphan has really disappeared. I have already posted official notices to the effect that unless someone brings me the orphan in three days, I’ll have all the children in the domain of Jin from one to six months old brought here and killed. Guards! Keep watch at the gate. If an informer comes, report to me immediately. (Cheng Ying enters.) Cheng Ying: I am Cheng Ying. I sent my son to Gongsun Chujiu yesterday. Now I am going to denounce him to Tu Angu. Guards! Convey the message for me: there is news of the Zhao Orphan. Soldier: Wait here while I report it. (Reports to Tu.) Reporting to the marshal: someone here says he has news of the orphan. Tu Angu: Where is he? Soldier: At the gate. Tu Angu: Tell him to come here. Soldier: His Honor asked you to come in. (Cheng Ying presents himself to Tu Angu.) Tu Angu: Say there, fellow, who are you? Cheng Ying: I am Cheng Ying, a commoner physician. Tu Angu: Where is the Zhao Orphan? Cheng Ying: He is hidden in Gongsun Chujiu’s house in Peace Village. Tu Angu: How did you find out? Cheng Ying: I met Gongsun Chunqiu once before. I went to visit him and, strange to say, there was a baby lying on embroidered bedding in his bedroom. I thought to myself: Gongsun is seventy years old and has never had any children. Where could this child come from? So I asked him: Can this be the Zhao Orphan? I saw him suddenly turning pale, and he could not answer. That is how I know the orphan is with him. Tu Angu: Pshaw! You wretch! How can you fool me? Since there has never been any enmity between you and Gongsun Chujiu, why should you inform on him? Could it be that you are involved in this yourself ? Make your case well and all is forgiven. Otherwise, if what you say does not tally—guards, sharpen your swords quickly and finish this wretch off first. Cheng Ying: Marshal, please calm your thunderous rage and restrain for a moment your fearsome majesty: let me explain the whole story. I certainly bear no grudge against Gongsun Chujiu; however, Your Honor has ordered that all the baby boys in the domain should be brought to you and killed. For one thing, I want to save the lives of those children; more selfishly, I am forty-five years old and only recently my son was born—he is not yet a month old. I wouldn’t dare disobey the marshal’s order and would have to give him up. But that means my lineage would end with me.

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I figured that if the Zhao Orphan could be found, not only would the babies of the whole domain be saved, but my son too would be spared. That’s why I decided to denounce him. (Recites:) Please, Your Honor, restrain your fury. This is the reason why I became an informant: Although the issue is to show Jin people mercy, In truth I fear my child to bury. Tu Angu (laughing:) Ah, yes. Gongsun Chujiu and Zhao Dun served together at court—that explains it. Guards, have the soldiers in our own division get ready right away. Let us go with Cheng Ying to Peace Village to arrest Gongsun Chujiu. (Gongsun Chujiu enters.) Gongsun Chujiu: I am Gongsun Chujiu. Cheng Ying and I made a plan yesterday to save the Zhao Orphan. Today he is supposed to denounce me to Tu Angu, and it’s about time the villain Tu Angu gets here. (Sings:) [Double Tunes mode: Song of New Water] By the bridge over the small brook, I see the dust of troops rising. It must be the persecutor of the just arriving. The soldiers spread out in perfect array. Their spears and knives shine in full display. Today death is staring me in the face, Why bother to escape thrashing and beating! (Tu Angu enters with Cheng Ying leading Soldiers.) Tu Angu: We are already at Peace Village. Guards, surround the whole village! Cheng Ying, where is Gongsun’s house? Cheng Ying: This one right here. Tu Angu: Bring that old wretch here. (To Gongsun:) Gongsun Chujiu, do you acknowledge your crime? Gongsun Chujiu: No, I do not. Tu Angu: You old wretch, I know you and Zhao Dun once served at court together. How dare you hide the Zhao Orphan! Gongsun Chujiu: Honored Marshal, even if I had the courage of a bear or leopard, still how would I dare hide the Zhao Orphan? Tu Angu: You won’t confess without beating. Guards, pick a thick rod and beat him hard! (Soldiers beat Gongsun.) Gongsun Chujiu (sings:) [Stop the Horse to Listen] Before I gave up office and bade farewell to the court, Zhao Dun and I were once known as friends who would die for each other.53 But who saw any of this?

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Tu Angu: Cheng Ying has denounced you. Gongsun Chujiu (sings:) I wondered who could be such a traitor and charges made. So it’s Cheng Ying’s tongue that is the executioner’s blade. You’ve slaughtered all three hundred in the entire Zhao clan. Now there is only this child left and you want to kill him too. Truly you are like the storm that hastens a devastating eagle, Or a biting frost that targets grass with withered roots. If you kill the orphan too, Who can avenge the wrong suffered by the three hundred dead souls! Tu Angu: You old wretch, where are you hiding the orphan? Confess quickly so you can be spared torture. Gongsun Chujiu: What orphan have I hidden? Who has seen him? Tu Angu: So you won’t confess. Guards! Take him down and give him a sound thrashing! (Soldiers beat Gongsun.) The old wretch is really stubborn and refuses to confess. How very maddening! Cheng Ying, since it’s you who is informing on him, I want you to wield the rod for me. Cheng Ying: Marshal, I am but a commoner physician. My wrist is too weak even for measuring medicine, let alone beating a man! Tu Angu: Cheng Ying, you won’t beat him. Is it because you fear that he might implicate you? Cheng Ying: I’ll do it then, Marshal. (Fumbles among the rods.) Tu Angu: Cheng Ying, I see you fumble among the rods trying to pick a thin one. You must be afraid that if you hit him hard he will give you away. Cheng Ying: I’ll use a thick one then. Tu Angu: Stop. First you chose a thin one and now a thick one. You think if you can finish him off in two or three strokes, there will then be no witness against you? Cheng Ying: You didn’t like it when I picked a thin rod. Now you blame me for picking a thick one; I’m really in a quandary. Tu Angu: Cheng Ying, you can simply use a medium-sized one. (To Gongsun:) Gongsun Chujiu, you old wretch, do you realize Cheng Ying is the one who’s beating you? Cheng Ying (beating Gongsun:) Now confess! (Cheng Ying beats Gongsun three times.) Gongsun Chujiu: Ah! They’ve been beating me all day, but none of the strokes I suffered hurt as much as these! Who’s beating me? Tu Angu: It’s Cheng Ying. Gongsun Chujiu: So it’s you, Cheng Ying! How come you are beating me? Cheng Ying: Marshal, after a good beating the old fellow should stop talking nonsense now.

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Gongsun Chujiu (sings:) [Wild Geese Alight] Who is it gives me such a sound beating with the thick rod? The pain is almost killing me, tearing my skin away. Cheng Ying, you brute, what enmity is there between us That makes you abuse an old man like this? Cheng Ying: Confess quickly! Gongsun Chujiu: I will, I will. (Sings:) [Victory Song] So badly beaten: there is no crevice that would escape permit. I can only confess to crimes I did not commit. Could it be that he has known all along about the orphan And thus purposely frames me? (Cheng Ying appears to be in a panic.) I really cannot endure this anymore. But clenching my teeth, I still hold to my core. Stealing a glance, I see fear has made his legs shaky. Cheng Ying: Confess quickly! Or else you will be beaten to death! Gongsun Chujiu: I will, I will, I will. (Sings:) [Water Sprite] We two conferred to save the child. Tu Angu: Just as I thought—you are implicating someone else! You said “we two”: one of the two is you, who’s the other person? Tell me the truth and I’ll spare your life. Gongsun Chujiu: You want me to tell you who the other person is. Yes. Yes, I will. (Sings:) Ah! The line was on the tip of my tongue but I swallowed it again. Tu Angu: Cheng Ying, you have a hand in this, haven’t you? Cheng Ying (to Gongsun:) Old man, don’t you dare frame innocent people! Gongsun Chujiu: Cheng Ying, why are you so frightened? (Sings:) How could I give you away, Cheng Ying? I am not the kind that gives a good beginning a sorry ending. Tu Angu: You said earlier there were two of you. Why do you say now there is no one else? Gongsun Chujiu (sings:) I’ve been beaten so hard that I’m all topsy-turvy. Tu Angu: I’ll beat you to death if you still refuse to tell the truth. Gongsun Chujiu (sings:) Just beat me until my skin breaks And my flesh is whittled away! Don’t think that I will breathe a word to implicate anyone else. (Soldier enters holding a Baby.)

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Soldier: Congratulations, Marshal. We found the Zhao Orphan in a cave. Tu Angu (laughing:) Bring the little brat over. I’ll personally chop him in three. Old wretch: you said the Zhao Orphan is not here—who is this then? Gongsun Chujiu (sings:) [Paddling on the River] Back then you trained the Divine Ao To pounce on the loyal ministers. Forced to flee to the wilderness, he died there. His son fell on a dagger, His son’s wife hanged herself with a sash. You slaughtered all three hundred in the clan, old and young, Sparing none, And even then your heart is not satisfied. Tu Angu: I cannot but feel angry when I see the orphan. Gongsun Chujiu (sings:) [Seven Brothers] I see him looking to the left and then the right, Shouting in fury. Suddenly his hideous face is lit with wrath. On his lion-barbarian belt,54 he hitches his brocade warrior’s robe, beneath He draws his Dragon Spring sword from its sharkskin sheath. Tu Angu (says angrily:) I draw out my sword—and give it one strike—and two—and three! (Cheng Ying appears to be in agony.) I’ve cut this little bastard in three. Now the biggest wish of my life is fulfilled. Gongsun Chujiu (sings:) [Plum Blossom Wine] Alas, the infant lies in a pool of blood. One is crying and wailing, The other, cursing and fuming, Even I am trembling and shivering. What a wicked thing to do! How now? Unless there is no justice under heaven!55 Alas! To think from the time the child left his birth mat, Till now—ten days have passed. Where the sword fell, there was no delay or mercy. A birth all in vain— The parents toiled for nothing. Even more pointless—the idle talk of a son providing for their old age. [Conquering the Southland] Alas! Isn’t it true that in a rich family, a child is treasured! (Cheng Ying covers his face in tears.)

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I see Cheng Ying in agony, as if boiling oil were poured on his heart. He dares not let his tears fall in front of others, And stealthily wipes them off. For no reason, he has let his own flesh and blood suffer three strikes of the sword. (Speaks:) Tu Angu, you murderer, wait and see! There is a heaven above! Don’t think that you can escape punishment. What does my death matter! (Sings:) [Mandarin Ducks Coda] At seventy I die, what a ripe old age! This child was one,56 how perversely early his death! We two lose our lives together in one place, In return our fame will ten thousand generations grace. You heed my words, Cheng Ying, you who will survive us, Don’t forget Zhao Shuo, who died a violent death. Indeed, the faster time passes, The sooner wrongs will be avenged. Have that villain suffer ten thousand cuts, a thousand strikes of the sword. Do not let him off easily! (Dashing himself against the stone step, he speaks:) I’ll smash my head against the steps and die here. (Exits.) Soldier (reports to Tu Angu:) Gongsun Chujiu has smashed his head against the steps and died. Tu Angu (laughing:) Since the old wretch has finished himself off, I’ll consider the case closed. (Laughs and speaks:) Cheng Ying, you deserve many thanks for this. If it were not for you, how could I have killed the Zhao Orphan! Cheng Ying: Marshal, I harbored no enmity against the Zhao line. It is just that, on one hand, I wanted to save the infants of Jin, and on the other, I myself have a newborn baby less than a month old. If the Zhao Orphan were not found, my child would surely have died. Tu Angu: Cheng Ying, you are someone I can trust. Why don’t you become one of the retainers in my household? I’ll take the responsibility of bringing up your child; let him study the art of letters with you and practice military arts with me. I’m almost fifty and still have no son. Why not let me adopt your child as my own? I am already getting on in years—someday I may even let your son inherit my position. What do you say to this? Cheng Ying: We are grateful to you, Marshal, for thus elevating us. Tu Angu (recites:) Because Zhao Dun was the one distinguished at court, I could not help but to treachery resort. Now that I’ve nipped this tiny bud, There will never be any feud of blood. (Exits.)

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ac t 4

(Tu Angu enters with Soldiers.) Tu Angu: Twenty years have already gone by since I killed the Zhao Orphan. There is this child of Cheng Ying whom I adopted and call Tu Cheng. I’ve taught him all eighteen branches of the martial arts, and there is none for which he does not show aptitude. He masters whatever he touches. This child even surpasses me in archery and horsemanship. With his help, before long I can plot to assassinate Lord Ling and take over the whole domain of Jin. I can then let the boy fill all my present positions. Only then can I be really content. The boy has just gone to the parade ground to practice archery and horsemanship. I shall discuss this with him when he gets back. (Exits.) (Cheng Ying enters with a scroll in hand.) Cheng Ying (recites:) Sun and moon the aging of men hasten. Time and tide ripening youth beckon. Too many things I’ve kept in my heart, Not too much do I dare to impart. How quickly time passes! Since I came to the Tu household, it has already been twenty years. I have raised my child and he has reached the age of twenty. His official name is Cheng Bo. He studies the art of letters with me, and practices military arts with Tu Angu. He has quick intelligence and a strategic mind, and is skilled in archery and horsemanship. Tu Angu is very fond of him; little does he know the inside story. However, there is one thing that bothers me: the child does not know it either. I’m already sixty-five. If something should happen to me, who is going to tell the boy that he should avenge the Zhao line? I have been turning this over in my mind and can’t sleep day or night. Now I have made a drawing on this scroll depicting those loyal officials and brave generals who suffered wrongful deaths back then. If the child should ask me about it, I shall then explain these events one by one. He will then certainly achieve vengeance for his parents. I’ll just sit in the study and wait. When the boy comes back, I will know what to do. (Male Lead dressed as Cheng Bo enters.) Cheng Bo: I am Cheng Bo. On this side is my father Cheng Ying, on that side, no less my father, Tu Angu. I practice military arts during the day and study the art of letters in the evening. I’ve just returned from the parade ground and am going to see my father on this side. (Sings:) [Zhonglü mode: Powdered Butterflies] Leading some soldiers under my command, I feel not the least bit of fear should killing be in demand. Every day, in books on the art of war practice I find.

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Relying on how I deftly tackle the foe And ably endurance show, Soon enough we will bring the various domains to submission. Who can equal my father in valor? I shall support him with utmost fervor. [Intoxicating Spring Wind] The sage ruler Lord Ling of Jin I serve, The worthy minister Tu Angu I assist with verve. For prowess civil and martial that let me confront ten thousand foes, My father on me praise bestows, praise bestows. As the sayings go, “The horses are strong, the soldiers brave,” “The father is loving, the son filial,” Why should we fear “subjects shamed by their ruler in distress”!57 Cheng Ying: Let me unroll the scroll. Woe indeed! Just because of this Zhao Orphan, so many worthy ministers and heroic men met death. Among them was even my own son, who died for him. Cheng Bo: Guard, take my horse. Where is my father on this side? Soldier: He is reading in the study. Cheng Ying: Announce me! Soldier (reports to Cheng Ying:) Cheng Bo is here. Cheng Ying: Send him in. Soldier: Sir, he wants you to go in. Cheng Bo (greets Cheng Ying:) Father on This Side, I’ve just come back from the parade ground. Cheng Ying: Go and have your meal. Cheng Bo: As I was coming out the door, I couldn’t help thinking that my father on this side is usually happy when he sees me, but today he looks very sad and cannot stop his tears. What can it be? Let me go back and ask him. (To Cheng Ying:) Has anyone given you grief ? Tell me, I will not let him off easy! Cheng Ying: Even if I tell you, it wouldn’t do your parents any good. You’d better go and have your meal. (Cheng Ying covers his face in tears.) Cheng Bo: This is indeed confounding for me! (Sings:) [Welcome the Immortal] Why are you hiding your tears? (Cheng Ying sighs.) Why this drawn-out sighing? Just as I, with pressed palms, move forward urgently and bow low, I noticed my father on this side— Sorely vexed, he is in deep distress, Seething in anger, his rage seeks redress.

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Who is it that has dared to give you grief ? I bow my head and wonder: Since no one has given you grief— How did words of discord tear you asunder? Cheng Ying: Cheng Bo, you read in the study. I shall go to the rear hall for a while before I come back. (Leaves the scroll behind him and withdraws.) Cheng Bo: Well, he has left a scroll here. What kind of document can this be? Let me unroll this and see. (Looks.) How strange! That one in red leads a fierce hound, which pounces on that man in purple. Then here, another man holding a melon-shaped mallet kills the hound. This one supports a carriage that is, oddly, missing a wheel. This one smashes his head against a locust tree and dies. What story is this? But there are no names written anywhere. How am I to know? (Sings:) [Red Embroidered Shoes] Painted here are several mulberry trees darkly green And a group of farmers in a boisterous scene. In grating motion, this one relentlessly steadies the carriage with one wheel. Another lifts a melon-shaped mallet in his hand, Yet another dashes against a locust tree and dies. And then there’s a fierce hound that keeps pouncing on the one in purple. Let me look again. This general has a bowstring, some poisoned wine, and a dagger before him. And he takes the dagger and cuts his own throat. Why does this other general fall on his sword? And there is also this physician kneeling, a medicine chest in hand. This woman, with a baby in her arms, looks as if she is entrusting the baby to the physician. Ah! So this woman hangs herself with a sash from her skirt. How pitiful! (Sings:) [Pomegranate Blossoms] I see here a man in a short embroidered robe, Reaching for the bowstring and poisoned wine, dying by the dagger. Why is there another general who cuts his own throat, all covered in blood? This one holding a medicine chest kneels and bows low. That one clutches a baby only to let it to another go. Pitiful is this fine lady adorned with pearl and jade— What wrong drove her to take the sash and hang herself ? I ponder for a long time without solving the mystery. What’s painted baffles me like a riddle—a confounding history! (Speaks:) On closer look, the man in red is really vicious. He is giving a while-bearded old man a terrible beating! (Sings:) [Fighting Partridges] When I see this villain wearing red Thrashing and humiliating the white-bearded one,

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How can it not make indignation churn my insides, And fill my vital organs with anger? If I am at all related to this family, I would not be a real man unless I kill this traitor. I would surely dare to take up their cause. But which kin is this lying in a pool of blood? Whose ancestors are these executed in the marketplace? (Speaks:) I simply cannot make much sense of it. When my father on this side comes out, I’ll ask him to explain it and dispel all confusion. (Cheng Ying enters.) Cheng Ying: Cheng Bo, I’ve been listening to you for a long while. Cheng Bo: Father on This Side, you should tell me the story. Cheng Ying: Cheng Bo, the story you want me to tell you in fact involves you. Cheng Bo: Then you should tell it all to your son, from beginning to end. Cheng Ying: Listen, Cheng Bo, for it’s a long story. In the beginning that man in red and this one in purple were both ministers at court. However, as leaders of civil and military affairs, the two were at odds and had been enemies for a long time. The one in red thought, “He who strikes first will gain the upper hand, he who is slow to act will in calamity land.” So he sent an assassin, Chu Ni by name, to climb over the wall, armed with a dagger to assassinate the one in purple. But who could have known that the old minister in purple was burning incense every night and praying to heaven and earth, showing in his prayers that he was concerned only for the good of the domain and harbored no self-interest. That assassin thought to himself, “If I kill this old minister, it would go against the will of heaven. This I definitely could not do. But if I go back to the man in red, I would die anyway! Have done! Have done!” (Recites:) Sharp dagger in hand, he was in secret hiding. Seeing the virtuous official, his regret was abiding. We now know justice prevails as truly as the sun is bright. That night Chu Ni dashed against the tree and ended his plight. Cheng Bo: So the one who smashes his head against the tree is Chu Ni? Cheng Ying: Isn’t it so! This man in purple once went to the countryside to speed the plow. He saw a strong man lying under a mulberry tree with his mouth open. He asked him why. The man said, “My name is Ling Zhe. Because I ate a peck of rice each meal, my master found me too costly to keep and drove me out. I thought I would pick his mulberries, but then he would accuse me of stealing, so I lie here and wait. If the berries fall into my mouth, I’ll eat them; if they don’t, I would rather starve than suffer humiliation.” The one in purple said, “This is a heroic man.” So he gave the starving man wine and food. The man ate his fill and left without even saying goodbye. The man in purple was not offended. Cheng Bo, this shows the magnanimity of the old minister. (Recites:)

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To speed the plow as the ritual for early spring, He made his rounds in the countryside before sunset. To whom and for what reason did he wine and food bring? Just so that the starving man under the mulberry tree should not fret. Cheng Bo: So the starving man under the mulberry tree is called Ling Zhe? Cheng Ying: Yes, Cheng Bo, remember it well. On another day, the Western Rong tribe sent a Divine Ao as tribute. A hound four feet tall is called an ao. Lord Ling bestowed the hound on the man in red, who was plotting to kill the man in purple. He had a straw figure set up in his back garden, dressed exactly like the man in purple, and put some sheep viscera in the straw man’s belly. Then he starved the dog for several days, cut open the belly of the straw figure, and let the dog eat his fill. He repeated this for a hundred days. Then he went to Lord Ling and said, “How do we know that there is no disloyal and unfilial subject in court harboring deceit and treachery?” The lord asked, “Where would he be?” That one in red said, “The Divine Ao you bestowed on me some time ago has the power to identify such a person.” The man in red then led the hound to court, where the one in purple was standing. The hound took him for the straw figure and pounced on him, chasing him around the palace hall. This infuriated a person standing close by, one Ti Miming, the officer of the palace guards. He raised his golden melon-shaped mallet and knocked the hound down. Then, with one hand grabbing the dog’s scalp, he rent the animal in two. (Recites:) This treacherous man a thousand devious schemes did know, Leaving no place for the loyal and just to go. But fortunately, at the palace hall was a hero Whose merciless hands in no time dispatched the Divine Ao. Cheng Bo: So this vicious hound was called the Divine Ao and the one who killed it was Ti Miming. Cheng Ying: Yes. Now the old minister had left the palace gate and was about to get into his carriage, only to find that the man in red had already had two of the four horses taken away and one of the two wheels of his carriage removed. Naturally the carriage would not move. At this moment, a strong man came forward. Supporting the single wheel with one hand, he urged on the horses with the other. First his clothes were torn off, exposing his skin, then successive layers of skin, flesh, sinew, and bone were scraped away, finally laying bare the marrow. But holding up the hub and pushing the wheel, he managed to help Zhao escape to the wilderness. You know who the man was? He was Ling Zhe, the starving man who lay under the mulberry tree. (Recites:) From the palace gates the one in purple fled. For the carriage of four horses and two wheels, one wheel is in its stead. It was Ling Zhe who to the wilds the carriage relentlessly drove, He did so to repay the kindness of a meal in the mulberry grove. Cheng Bo: I remember him. He is Ling Zhe, the one lying under the mulberry tree. Cheng Ying: That’s right.

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Cheng Bo: Father on This Side: this one in red, he was really ruthless. What was his name? Cheng Ying: That I don’t remember, Cheng Bo. Cheng Bo: And the man in purple, what was his name? Cheng Ying: His surname was Zhao. He was the late prime minister, Zhao Dun. Actually you’re related to him. Cheng Bo: I heard there was one Prime Minister Zhao Dun, but I never paid much attention. Cheng Ying: You must remember well what I’m telling you, Cheng Bo. Cheng Bo: There are other things on the scroll. Tell me more, please. Cheng Ying: The one in red killed all three hundred members of the Zhao clan, all except Zhao Shuo, who was the prince consort. The man in red then forged a decree from the lord ordering Zhao Shuo to take his own life by one of the three “gifts of death” from the court: a bowstring, some poisoned wine, or a dagger. Meanwhile the princess was pregnant, and Zhao Shuo left his final words: “After I die, if you give birth to a son, name him the Zhao Orphan and raise him to avenge the whole clan.” Then Zhao Shuo killed himself with the dagger. The princess, imprisoned in the palace by the man in red, gave birth to the Zhao Orphan. As soon as the one in red heard of it, he sent General Han Jue to guard the gates to the palace to prevent anyone from smuggling the orphan out. The princess had a trusted retainer known as Cheng Ying, a commoner physician. Cheng Bo: Father on This Side, would that be you? Cheng Ying: There are many people in the world who answer to the same name. This was another Cheng Ying. The princess, after entrusting the child to that Cheng Ying, hanged herself by a sash from her skirt. This Cheng Ying took the child to the gate and was stopped by General Han Jue. He searched him and found the orphan. But after Cheng Ying explained the matter to him in a few words, General Han drew his sword and killed himself. (Recites:) Dauntless was the physician Who smuggled out the orphan. He encountered a general loyal and just Who would rather die than see the orphan in captivity thrust. Cheng Bo: This general killed himself for the sake of the Zhao Orphan. He was indeed a remarkable man. I’ll remember that his name was Han Jue. Cheng Ying: Yes, yes. It was indeed Han Jue. However, when the man in red found out about this, he issued an order to the effect that all children in the domain between one and six months old had to be brought to his headquarters and cut in three. He thought this way the Zhao Orphan would certainly be killed. Cheng Bo (angrily:) How ruthless that man in red was! Cheng Ying: Exactly. Now this Cheng Ying also had a newborn baby not yet a month old. He disguised him as the Zhao Orphan and sent him to Gongsun Chujiu in Peace Village. Cheng Bo: Who was this Gongsun Chujiu?

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Cheng Ying: He was an old minister who served with Zhao Dun in court. Cheng Ying said to him, “Your Honor, please keep the Zhao Orphan and report to the man in red, tell him that Cheng Ying is hiding the orphan. He will sentence us to death, my son and me. You can then bring up the orphan and have him avenge his parents. Isn’t this a good idea?” Gongsun said, “But I am too old. Cheng Ying, if you are willing to give up your son, you can disguise him as the Zhao Orphan and leave him with me. You report this to the man in red, and I shall die with your son. You can hide the orphan and see to it that he one day avenges his parents.” Cheng Bo: That Cheng Ying was really willing to sacrifice his own son? Cheng Ying: He was willing to sacrifice his own life, how much could his son matter to him? So he disguised his son as the orphan, left him with Gongsun, and then he informed the man in red. The man in red cross-examined Gongsun Chujiu and inflicted all kinds of tortures on him. He finally found the false Zhao Orphan and chopped him in three. Thereupon Gongsun smashed his head against the steps and died. All these happened twenty years ago. The Zhao Orphan is now already twenty years old. But if he is not equal to the task of avenging his parents, what good is there in talking about it! (Recites:) Majestic in appearance, of impressive stature, He has mastered arts civil and martial—but to what avail? Where is his grandfather who in the carriage fled? His whole clan—young and old—is among the wronged dead. His mother in the palace by the neck was bound, His father died by the dagger on the execution ground. None of these wrongs have yet been righted with vengeance, How can he be deemed a real man in essence? Cheng Bo: You’ve been talking for so long, but I still don’t understand. It’s just as if I were having a dream. Cheng Ying: So you still don’t understand. The one in red is none other than the treacherous Tu Angu. Zhao Dun was your grandfather, Zhao Shuo was your father, and the princess was your mother. (Recites:) I’ve got to the bottom of the story— Are they still topsy-turvy, your assumptions a priori? The old Cheng Ying who saved the orphan by giving up his son was me, Indeed the Zhao Orphan is none other than thee. Cheng Bo: So I am the Zhao Orphan! Alas! Unbearable anguish! (Cheng Bo falls, Cheng Ying steadies him.) Cheng Ying: Young Master, wake up. Cheng Bo: Alas! Unbearable pain! (Sings:) [The Whole World Rejoices] Having heard the story from the start, Only now is the truth there to impart.

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Twenty years I have lived, moons that wax and wane, I have grown to full stature, all in vain. So he who cut his own throat was my father, And she who hanged herself was my mother. When the story is told to its heartbreaking point, Even a man of iron or stone would wail in lamentation. I’ll risk all to capture that villain alive And demand of him the ministers that once filled the court, As well as the lost lives of my entire clan. (Speaks:) How could I have known if you had not told me! Please sit here, Father, and let me make obeisance to you.58 (Cheng Bo makes obeisance to Cheng Ying.) Cheng Ying: Now the survival of the Zhao lineage is ensured; for this my own line has long been cut down, just like grass whose roots are eradicated. Cheng Bo (sings:) [Ascending a Small Tower] If you, Father, had not looked after me, And brought me up, I would have, twenty years earlier, fallen victim to the blade, I would have been in the ditch laid. How I loathe this villain Tu Angu! He searched for the roots as he pulled up the tree. He had my entire clan slain and almost none could flee! [Same tune as above] He, he, he had my entire clan slain, To pay back, I, I, I shall have his clan suffer the same pain. Cheng Ying: Young Master, try not to raise so much commotion lest the villain should hear. Cheng Bo: I’ll not stop until I’ve made him pay for what he did— (Sings:) So what if the Divine Ao he leads, And on the strength of his clan troops he proceeds! So what if schemes and conspiracies he breeds! Just think: for whom did this and that person die? Why should I, the son, death not defy? (Speaks:) Don’t worry, Father, tomorrow I’ll first go see the lord and the officials at court. I’ll then set out to kill the villain myself. (Sings:) [Teasing Children] By tomorrow, should I encounter my foe, I’ll block his way squarely on the road. No need to put soldiers and guards to special use. With my long arms I will reach out, His horse with its jade bit and carved saddle I will put to rout.

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From his black-canopied carriage with golden flowers he will fall, Dragged away like a dead dog that couldn’t crawl. I’ll just ask him: Is there a place for the human heart? Is heavenly justice going to play its part? [Penultimate Coda] You have overplayed the hero betimes, Your vindictiveness knows no bounds. It cannot be helped: one by one you’ll have to pay for all your crimes. Back then old Gongsun you wrongly accused, Today the Zhao Orphan cannot be refused! Don’t ever think I’ll forgive you! I’ll easily cast him down And take my time to finish him off. [Ultimate Coda] I will take away his dipper-sized official seal, Strip off his robes that by bright embroidery appeal. With a hempen rope, tie him with his back to the execution stake. With a pincer, pull out his slandering tongue; With an awl, poke into his villainous eyes; With a sharp knife, strip the flesh piecemeal from his body; With a steel hammer, break his bones to their very marrow; With a bronze sword, cut his head off. [Coda] Even then my seething wrath will not diminish, Nor will deep, dark rancor its vengeful course finish. All because I’ve been an unfilial son for twenty years—I took the enemy for my father, For the three hundred wronged souls— Only now have they found their avenger. (Exits.) Cheng Ying: Tomorrow the young master will surely go seize the old villain. I shall follow to see if I can help.

ac t 5

(Extra Male dressed as Wei Jiang enters, leading Zhang Qian.) Wei Jiang: I am Wei Jiang, high minister at the Jin court. This is Lord Dao’s reign.59 Tu Angu had usurped power and eradicated the entire clan of Zhao Dun. But Zhao Shuo had a retainer, Cheng Ying, who hid the Zhao Orphan. Twenty years have passed since then and the orphan’s name has been changed to Cheng Bo. This morning

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he submitted a memorial to the lord and requested permission to arrest Tu Angu to avenge his father’s death. Our lord has decreed that, in view of Tu Angu’s overwhelming military power, there is the danger of revolt, and Cheng Bo is to act on his own discretion and secretly arrest him. He will then have everyone in the culprit’s clan put to the sword, sparing not even the youngest. Our lord will bestow further honors on Cheng Bo after he succeeds. I must convey this order to Cheng Bo myself to avoid word getting out. (Recites:) Loyal officials were slaughtered, justice they did repress. For twenty years the wronged found no redress. Today the villain will be seized. Only now do we know that carnage is by carnage appeased. (Exits.) (Cheng Bo enters, mimes riding and holding a sword.) Cheng Bo: I am Cheng Bo. I’ve submitted a memorial to our lord this morning, stating that I am to arrest Tu Angu and avenge my grandfather and father. How impudent is this old villain! (Sings:) [Zhenggong mode: Proper Decorum] No need to dispatch officers and soldiers Brandishing broad swords and long spears. Today I’ll take revenge, kill him and his kind, I’ll death defy, This must be the day he is doomed to die. [Rolling Silken Ball] Right in this noisy marketplace, I will enact high drama. Between him and me there can be no easy sweep, It will be like a tiger pouncing on a sheep. I’m not nervous, I’m not anxious; My limbs have long been prepared for the task. Let’s see for what precautions the villain would ask. If I can avenge the wrongs that had simmered for twenty years, And make him pay for the lives of the three hundred, I’ll have no regrets even if I have to die. (Speaks:) I shall wait here in this busy marketplace. The old villain should come anytime now. (Tu Angu enters leading some Soldiers.) Tu Angu: I’m heading home from the marshal’s headquarters. Guards! Set forth the vanguard formation and proceed slowly! Cheng Bo: Is that not the old villain coming? (Sings:) [If a Scholar] Look at the vanguard he puts in imposing rows And the strident attendants on both sides that he does dispose! Look how he thrusts out his chest,

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Which to his airs does attest! My horse gallops fast as flowing water, The sword in my hand gleams like autumn frost. Forward I step, him I will accost. Tu Angu: Tu Cheng, what are you here for? Cheng Bo: You old villain! I am not Tu Cheng. I’m the Zhao Orphan. You killed all three hundred members of my clan twenty years ago. Today I shall arrest you, old wretch, to avenge the wrong you did them. Tu Angu: Who told you all this? Cheng Bo: Cheng Ying did. Tu Angu: This boy has the limbs for martial prowess. I am no match for him. I’d better get away quickly. Cheng Bo: You scoundrel! Where are you going? (Sings:) [Little Monk] From all sides revealed is my, my, my might, How can you, you, you put up a fight! Already so, so, so very frightened, as if his soul has taken flight! Don’t, don’t, don’t even try to use words to ease your plight! No, no, no words can serve quite, Come, come, come—in a trice you are toppled from your height! (Cheng Bo captures Tu Angu.) (Cheng Ying enters in a hurry, flustered.) Cheng Ying: I was just afraid the young master might meet with some mishap, so I have come to do what I can. Thank heavens! My young master has caught Tu Angu. Cheng Bo: Guards! Tie up this old wretch! We shall go report to our lord. (Exit.) Wei Jiang (accompanied by Zhang Qian:) I am Wei Jiang. Now Cheng Bo has gone to arrest Tu Angu. Guards! Keep watch at the gate and report to me when they come back. (Cheng Bo and Cheng Ying enter, with Tu Angu under arrest.) Cheng Bo: Father, let us go then, you and I, to see our lord. (Present themselves to Wei Jiang.) Your Honor, heaven takes pity on the wrong done to the three hundred in our clan. We have taken Tu Angu captive. Wei Jiang: Bring him over here. Tu Angu, you murderer of the loyal and virtuous! Now that you have been arrested by Cheng Bo, what have you to say? Tu Angu: He who succeeds is the king; he who fails, a sorry thing. Since things have come to this, all I ask for is a speedy death. Cheng Bo (to Wei Jiang:) Your Honor, give me justice! Wei Jiang: Tu Angu, you may want a speedy death, but I must make you suffer a lingering one. Guards! Nail this villain to the wooden donkey,60 let him suffer three thousand wounds by fine slicing. Only when all his skin and flesh are gone can you chop off his head and open up his chest. Make sure that he does not die too soon.

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Cheng Bo (sings:) [Taking Off the Plain Robe] Nail this wretch to the wooden donkey, And take him to the Yunyang execution ground. Do not yet behead him or cut open his chest, Even grinding him into a pot of pulp, with naught to wrest, Cannot my soul of deep, dark rancor divest. Cheng Ying: Young Master, today you have taken revenge and restored your family name. But for my family and me—pitiful indeed—there is nothing we can fall back on. Cheng Bo (sings:) [Little Liangzhou] Who would part with his own child to protect the son of another line? Beneficence like yours cannot be forgotten. A master portraitist I shall find To record your true likeness so kind. In our ancestral temple it’ll be enshrined. Cheng Ying: Young Master, what beneficence could I claim, that I should cause you to go to such lengths! Cheng Bo (sings:) [Same tune as above] You had me suckled for three years on end— A charge more exacting than ten months in the womb! What good fortune that I should escape ten thousand deadly traps unscathed! Even if I were to honor you with incense morning and night, I can never repay enough your kindness as my foster parent. Wei Jiang: Cheng Ying and Cheng Bo: Face the palace and kneel down. Hear the lord’s decree: Tu Angu decimated the loyal and just, Corrupted the court, and destroyed all trust. The Zhao clan he entirely wiped out, Though rules and laws they did not flout. At that time many intervened to uphold justice. Who can say the way of heaven lacks compass? Fortunately the orphan was able to exact vengeance And severed the traitor’s head as sentence. Let him resume his original surname and be called Zhao Wu. He shall also inherit the titles and positions of his father and grandfather. Let the son of Han Jue continue to be commander of the upper army.61 Cheng Ying is to be given an estate of ten qing. A tomb and monument will be built to honor Old Gongsun’s memory, And Ti Miming and others will be duly praised.

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Let this day mark a new beginning for Jin, Let us all rejoice in our ruler’s boundless benevolence. (Cheng Ying and Cheng Bo offer thanks to the lord.) Cheng Bo (sings:) [Huangzhong Coda] We thank the lord for his beneficence by which Jin will flourish. The villain and his line did totally perish. The orphan is given a new name And will inherit his forebears’ titles selfsame. The loyal and dutiful got the reward that is their due, Military officers are restored to their ranks anew, And the poor can now sustenance pursue. The dead are posthumously buried and honored, And the living have titles and awards garnered. Our ruler’s beneficence, like heaven, encompasses all, Who would dare not heed the call! I pledge to brave death on the battlefield, And make all neighboring domains yield. For all that I will leave my name in historical records That will endure as topics for posterity.

Topic: Gongsun Chujiu Is Shamed By the Interrogation Title: The Zhao Orphan Achieved His Great Revenge62

T h e Z h a o o r p h a n in Y u a n e d i T i o n s t ran slat ed B y Wa i - y e e l i

Key:

*Arias that do not exist in the Anthology edition †Arias that share tune titles with the Anthology edition but have completely different words §Arias that share tune titles with the Anthology edition but have fewer than three lines in common with them ~Arias that exist in the Anthology edition but not in the Yuan Editions

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[ We D g e ]

[Xianlü mode: Time for Appreciating Flowers]§ The rule of Lord Ling of Jin is doomed to end! Tu Angu, subject most foul, holds power in his hands. Manipulating the ruler to command the nobles,63 He has me cut down at the Yunyang execution ground. Is this then how loyal exertion should come to its final round! [Same tune as above] I will not even get to be buried in any earthen mound! I have given final counsel, and tears stream down my cheeks like rain. Only this, and from other words I refrain: Would that after the child is grown, The task of avenging his parents’ unjust deaths should to him be shown!

[ ac t 1 ]

[Xianlü mode: Touching Up Red Lips]§ Resisting the enemy in the west, Qin, We establish in the east Jin. Peace and order we have enjoyed. By the treacherous Tu Angu Are the ministers below the golden steps destroyed! [River Churning Dragon]§ Lord Ling of Jin is a perversely compliant type— The court is giving all the power to people of this stripe! The loyal and righteous are beheaded in the marketplace, While slanderers and flatterers are secure in their official base. Those accomplishing great things for the ruler submit to grievous malevolence, Those bringing no benefit to the people receive the lord’s beneficence. He gets to browbeat the Son of Heaven, Intimidate the lords. All who oppose him have been eradicated. Eradicated are the highest ministers of the realm And the generals at the helm. [Oily Gourd]† And for now: there is furor all under heaven as the dust of battles rises, As each draws borders and cuts the realm into slices.

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Yielding to slander, he has plunged Jin into a woeful crisis!64 Now with the world in chaos and heroes in dire straits, Let’s see when the law rectifies, when heaven justice elevates! That scoundrel abuses heaven above And tyrannizes the people below. Try asking the endless, azure, blessed heaven on high: Preening with a blue face, it’s unforgiving! [Joy for All Under Heaven]§ Have no fear: retribution will come sooner or later, befalling you or your progeny! He is about to swallow the realm, mountains and rivers all, Filled with rancor because Zhao Dun would not heed his call. His heart plots, his heart goodness blots, Branding a minister most worthy a traitor. Brewing benighted stupor, he swindled approval for his course from the ruler. [Song of the God Nezha]* Just think: Zhao Dun acted for the people’s weal. To treat his guest he once shared his meal. Chu Ni, shamed by his generosity, Gave up his life and smashed himself against a tree. Ling Zhe, whom he saved from despair, Held on to his wheel to repay his care.65 Governing the people, great accomplishments he did enact, Assisting the ruler, he sought no private gains to exact. Yet he did not even manage to keep his corpse intact! [Sparrow on a Branch]* In vain did he peace from the dust of battle wrest, And established the meritorious bequest. He could not be where the stone qilin finds rest66— In an ancient grave, a neglected tomb. Decapitated and torn asunder was the father, And persecuted with the same venom was his progeny. [Dodder]* It will be hard for that child to escape: Tu Angu has set tongues wagging. Slanderers will slander, unflagging. The enemy must like the enemy hate, The progeny must trust the progeny’s fate. Day after day stoking hatred, when will this be done? Injustice against injustice to requite, how can this be won?

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[Flowers in the Rear Courtyard]67 They say that you are Prince Consort Zhao’s honored guest, But I am a retainer who acts at Tu Angu’s behest. They say that you are hiding the one-year-old precious heir, But how can you fly out of the nine-gated dragon-phoenix lair? If I did not care, There wouldn’t be questions I did not spare. He who receives kindness has to pay back with kindness. [Golden Cup] I only see streaks of tears on his cheeks. From the corner of his mouth, milk leaks. His little rolling eyes try to recognize the guest, Tightly tucked, he is swaddled inside the chest. It’s so narrow: he can’t really turn. It’s so low: how can he stretch? In truth, “To become a man is to not have it easy, Having it easy is to not become a man.” [Heaven for the Drunken] If I hand him over for gain, that would mean fame to attain, That would mean for myself a safety charm, and others, harm. Three hundred in the clan have been cut down, All branches and leaves are lopped off. (Adds:) If he sees this young boy . . . (sings:) He was determined to break their bodies, grind their bones to dust, Not leaving any child, any remaining crust. Why should you, for nothing, be another’s instrument for destruction68 total and unjust? [Golden Cup]~ [Helped Home Drunk]~ [Blue Song]~ [Coda]69 I would fain endure pain and humiliation, But why face that scoundrel’s torture and interrogation? Better to use the three-foot Dragon Spring sword for the final termination. Just look: the drawings and portraits have been made, the search is under way. In the deep mountains and open wilds you should hide and stay. When this child approaches ten, Let him take up learning literary and martial. By the time he gets to excel in both, He is to remember the enemy to loathe, And seek out the benefactors who pledged their troth. When he kills his enemy, he must not forget his benefactors!

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[ ac t 2]

[Nanlü mode: One Sprig of Blossoms]§ Real men are thwarted and hounded, Veritable pillars of the domain are pounded. What an overbearing minister, this Tu Angu! What a weakling of a ruler, this Lord Ling of Jin! To slander and flattery the lord succumbs. With military might, the villain overcomes. Ministers of merit have no venue for loyal fervor. How can I not be filled with rancor? Indeed the ruler is in the trap70 of the malefactor! [Liangzhou Number Seven]§ Ever since he garnered honors as lord and minister, gaining sway in court, I withdrew from office, all fearful, and to farming deep in a village I resort. Even if there are those who bring peace and order, they’re hard to follow! His rank is now the highest, His position reaches that of the three ministers. His fief extends over eight counties, His emolument amounts to a thousand bushels. He turns a blind eye to injustices And turns a deaf ear to the people’s curses. Now he who manipulates the ruler gains honors and promotion, He who harms the people attains his emolument and ambition, He who commands the nobles receives rewards and recognition. Let me be in want and endure poverty, Why be surprised that after death I will not be honored at a grave with a stone qilin? It is not that I find plowing a pleasure, But at least I have leapt out of the tigers’ den, where injury’s the measure: Just let me nurture my carefree leisure. [Coda for the Turning Point]§ You may say, since times of yore, slanderers have in court claimed domination, For all happy events, there’s the same abomination. He is evermore cursed by millions, Rejected by legion, Favored by one. He is both corrupt and unjust. The fabric of loyalty and filial piety he has rent,

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Now all people under heaven, each and every single one of them, are seething with discontent! [Congratulating the Groom]* Who would dare to take one letter and submit it to the royal palace? They all comply with Tu Angu, flowing east as he looks east. He’s managed to sway Lord Ling of Jin, who follows his bidding, not deviating the least. Officials civil and military are shocked into fearful submission, In all ministries and departments, they feign confusion. Making themselves scarce, they hold their ivory tablets close to their chests, As if fish-bladder glue71 has sealed their lips, As if fish bones stick in their throats. Bowing their heads, they look like mute men seeking their dreams. Indeed the world does teem With affairs that silence does not redeem.72 [Sheep-Herding Pass] This child, before he was born, lost all his kin. While still in his mother’s womb, his forebears met their demise. Raise him to manhood; he may yet bring ruin rather than luck. His father was executed at Yunyang, His mother died a prisoner in the palace. How can he become a minister of true grit, one whose humble roots his rise confirm? He may yet grow up to be an ungrateful black-headed worm.73 You take him for a true man who will avenge his father and mother, To me he is nothing but a seed of misfortune that ensnares another. [Red Peony] In twenty years you can repay your master. That will be the moment of real distinction. Sooner or later I will die, and all our efforts will be for naught. My energy, unlike former days, is with decline fraught. If bereft by my sudden death, how can this child accomplish anything? Old age is not ravaging you, not quite yet. I can’t wait for abundant life to show my flair: The morning drums and evening bells are hard to bear. [Bodhisattva Liangzhou] Turn to this puppet-show tent, Beat the drum, play the flute: the show we invent. Worn and gone are those beautiful years, Worn and gone is the hero too old. If his wrong were not avenged, our meeting would have been vain.

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To see duty and not embrace it is to lack valor! If promises are not kept in good faith, how can they matter? There is no need to ply me with praise polite. For a true man death is almost trite, Let alone one like me whose hair has long turned sparse and white. [Scolding the Lover]* As for the two of us, it does not matter who would go first and who would wait. Execution in the marketplace is our inevitable fate. Because of the beneficence of the Zhao clan, you feel their every pain, And I, for you, Brother, respect maintain— As if ties of kin we sustain. [Grateful for Imperial Grace]* Why fear the three-foot frosty blade? At the most I will end up in nine boiling cauldrons!74 Let them cut me down with a swift sword, Put me in poison’s coil, Boil me in roiling oil. I sigh that my heroic soul will drift into the distance As mournful mist shrouds all existence. Disperse the woeful clouds, Follow the setting sun, Catch up with the lamenting wind. [Song of Picking Tea Leaves]* This old villager And the little children Are all carefree under the bright moon. Rancor rushes up, for boundless pain I brace, Ten years of events past make nary a trace! [Third to Last Coda]~ [Penultimate Coda]† As for that seed of a minister whose merit is honored in the Qilin Room:75 I do not believe that by the tiger’s gate dogs would presume!76 When he grows up, the lineage’s mantle he will assume. To flay Tu Angu with ten thousand cuts would be punishment too light— It would not suffice to avenge the pain and suffering of three hundred kinsfolk! There would be no need for sacrificial ritual, Just wrest the blood from his chest and scatter it sky-high And use it as offerings to your father and grandfather.

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[Coda]§ Relying on the branch and shoot of the Zhao clan that will last a thousand years, The Jin house will be upheld, lording over impregnable terrains and frontiers. Relying on awesome might revealed, he will lead the troops And set forth two rows of vermilion-clad soldiers by chariots in groups. Think of Ling Zhe who helped the wheel along: how fierce his will! Chu Ni who smashed himself against the locust tree: a martyrdom to fulfill! The palace guards keeping watch at the gate did not come to a good end, The slain Gongsun was old, and his usefulness none could commend. The newborn child to the sword’s blade fell prey, Cheng Ying, who abandoned his son, had no pity and fear to allay. The name emblazoned in historical records—futile it will be, all in vain. But in truth, the day will come when they will its importance maintain. There is no need to set up my stele among a jumble of tombs— Because I will already have been buried in Mount Beimang, at an unmarked grave.

[ ac t 3 ]

[Double Tunes mode: Song of New Water] By the bridge over the small brook, I see the dust of troops rising. It must be the traitor, compliant nobles in tow, arriving. The soldiers spread out in perfect array, Their spears and knives shine in full display. Today death is staring me in the face, Why bother to escape torture and disgrace! [Stop the Horse to Listen]§ Although an old military man, I am still a proud soldier. Zhao Dun and I were once friends who would die for each other. As I said, the minister is to prevail, the ruler to fade— So it’s Gongsun’s tongue that is the executioner’s blade.77 A true man by his valor forges with heroes the same track, The sages said that the righteous must the unrighteous attack. The whole clan is annihilated, no progeny will pass: Heavens! Biting frost has chosen to kill rootless grass. [Intoxicated by the East Wind]* Have no fear that this true man will let his soul fly to the ninth heaven! Let Tu Angu beat me with a thousand rods all he can.

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If I confess quickly, he may soon discern the ruse. If I am slow to confess, doubts will vanish, he will miss the clues. Every stroke I endure is one stroke of merit accomplished. If he is not to pull up the tree, look for roots, and suspect cheating, I will have to bear my share of trussing, splaying, hanging, and beating. [Wild Geese Alight]† Making a mockery of Gongsun, your ploys are grim, Complying with the traitor, you denounced me to him. So terrified that I can barely stand as my shuddering knees shake, No longer mine to control, the pounding of my heart is at stake. [Victory Song]~ [Water Sprite] We two conferred—let me first confess— Words came to the tip of my tongue, but I swallowed them nevertheless. Even if I die, don’t think that I would give you away, Cheng Ying. How can I deign to give a good beginning a sorry ending? (Adds:) Don’t beat me! (Sings:) At the most you can set up nine cauldrons with boiling oil. I am old enough—there is no room to turn around and recoil. Even if I die, it would be for a good cause— Just hurl on me the hail of blows without pause. [Paddling on the River]§ Back then you raised the Divine Ao To bite loyal officials and able generals. You were about to usurp the throne And plot to have the ministers overthrown. All three hundred of his clan, young and old, Have been cut down at the marketplace. All nine sets of relations have been erased. You are still looking for this small child, Unable to be anything but pitiless and reviled. [Seven Brothers]§ But his countenance is contorted, How can he show mercy? The Five Skandha Mountain is fiery red.78 On the lion-barbarian belt he hitches his brocade warrior’s robe, beneath He draws his Dragon Spring sword from its sharkskin sheath. [Plum Blossom Wine]§ Alas! He is already lying in a pool of blood. You can tell the story of toil raising a child.

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He cannot escape his heaven-allotted fare, You cannot dispel regrets about your heir. Cheng Ying! How to prepare for old age? For raising sons you toil— I don’t believe you are not in turmoil! From the time the child left his birth mat Till now—ten days have passed. He endured three strikes of the sword, aghast. [Conquering the Southland] Isn’t it said that in a rich family, a child is treasured! I see him, on the side, unable to salve his heart’s gall.79 His eyes did not dare let tears fall. Stealthily wiped off—tears to hide, It is as if boiling oil were poured all over his insides. [Mandarin Ducks Coda] At sixty I die, what a ripe old age! This child was one, how perversely early his death! We two lose our lives together in one place, In return our fame will ten thousand generations grace. Indeed, you heed my words, Cheng Ying: Think of that Zhao Shuo, who died a violent death, Raise the child to become a man, Let him avenge the unjust murder of his parents. Turn this villain into mincemeat with a thousand cuts, I do not want him let go easily!

[ ac t 4 ]

[Zhonglü mode: Powdered Butterflies]† No need even to use soldiers under my command— The Son of Heaven has the help of a hundred spirits at hand,80 Just wait till my father makes supreme rule his stand.81 For him to take over the realm, rivers and mountains all, And the domain’s altars of soil and grain to overhaul, Is as easy as fishing something out of a cup. Soon enough, the royal carriage he will be proudly riding. Cowed by me, the fear of all will be abiding.82 [Intoxicating Spring Wind]† About to turn against my old master Lord Ling of Jin, I will assist the new ruler Tu Angu.

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Exchange for him the royal crown,83 The green jade belt, The dragon robes. Change to another ruler, another ruler! What is all this talk of “sage ruler and worthy subjects”? If “the father is loving and the son is filial,” Why bother about “the subjects shamed by their ruler in distress”? [Welcome the Immortal] Why are you hiding traces of tears? Why this drawn-out sighing? Just as I, with pressed palms, move forward urgently to get a reply— Sorely vexed, he is in deep distress, Seething in anger, his rage seeks redress. I bow my head and wonder: How did words of discord tear you asunder? [Red Embroidered Shoes]§ Painted here are several mulberry trees darkly green And a group of villagers in a boisterous scene. Blood-drenched, this one uses his arms to steady the carriage with one wheel. This one dies under a locust tree. This one meets death by the sword’s blade. This old man gives a child to someone he is trying to persuade. [Pomegranate Blossoms]§ This one, with furious rage, clutches the Kunwu sword in his hand, This one kneels by the corner of the steps. This child perishes under the sword’s blade, The body of a slain woman lies in a pool of blood. Why is this old man executed? This one in a red robe is uncommonly vicious! Following the story through, I yet cannot solve the mystery. What’s painted baffles me like a riddle—a confounding history! [Fighting Partridges]† What child is this on the execution ground? Whose ancestors are these in this marketplace? This one can no longer provide for his progeny! This one can no longer save his parents! Whose family story is painted on this scroll? Tell your son from the beginning—let the story unroll: Did this person violate the statutes and break the laws? Did this person suffer unjust punishment and wrongful accusation? [The Whole World Rejoices]§

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I was to ask what happened, tracing the story from its source, I was to pull out my sword, ready to assist the wronged by force. How this affects me! Sorrow entwines my vital organs, Anger besieges my insides. It turns out that the fallen victims of treachery are my father And the ancestors of my clan! When the story is told to its heartbreaking point, Even a man of iron or stone will wail in lamentation! If you, Tu Angu, become the king, And I become your minister— What about the will of heaven?84 [Ascending a Small Tower] If you, Father, had not looked after me, And brought me up, Then twenty years ago, Decapitated, torn apart, I would have been dead in the ruins from the start. Tu Angu, That villain, Searched for the roots as he pulled up the tree, He had my whole clan slain and none could flee! [Same tune as above]† For having turned against one man,85 That traitor should be wiped out, along with nine sets of relations in his clan. Instead all military resources under heaven, Common folk that fill the realm Are turned over to that villain presiding at the helm. It turns out you are the mastermind, It is under the tutelage you designed That he is taught to threaten lords of other domains,86 It was you who has taught him to assassinate the ruler and murder his father!87 [Twelfth Month]* Thinking of my father and mother who suffered wrongful deaths, I want to seize the slandering, conniving villain. I will make that scoundrel ride the wooden donkey, Flay his body cut by cut, Chop his young sons and daughters into mincemeat, So that not a single kin of his remains. [Song of Yao’s People]* Today others will persecute you: what then? It so happens that, like a protective talisman, you have the Zhao Orphan reared!

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Let everyone in his clan, be they high or low, meet a fate most feared! Look, my three-foot Dragon Spring sword is with blood dimly besmeared. Heed the moment, Heed the moment, What little you owed in your former life You have to pay back today. [Teasing Children]§ By tomorrow, should I encounter my foe, I will block the traitor’s way squarely on the long road. Grabbing the Dragon Spring sword in hand, I will drag him by his clothes. Whipping my horse, powerful as a bear, with my long arms I will reach out, His horse with its jade bit and golden saddle I will put to rout. From his black-canopied carriage with golden flowers he will fall. No easy forgiveness at all: The fierce tiger that hesitates Is not as deadly as the stinging wasp. [Third to Last Coda]* If these wrongs I do not relieve, I cannot dispel this rancor and grief. To think of my father who died a violent death, my own mother who perished in prison! If I do not avenge my parents in the underworld and assuage their pain, The shame of facing the starving man under the mulberry tree will be my bane. Have no fear and doubts: Just distinguish the good case from the weak one, Examine what’s the truth, what are the lies spun. [Penultimate Coda]† Gouge out that villain’s eyes, Slit open his belly, Rip out his heart, Lop off his limbs, Crack! Break that scoundrel’s spine. As the saying goes, not too little rancor—a noble man’s at stake. It has always been so: without venom a true man you cannot make. It will be hard to cover him up! I am not afraid of the guards shielding him in front, Nor of the soldiers to his left and right. [Ultimate Coda]~ [Coda]† I want to repay the kindness of my parents who died violent deaths, Relying on the blessings of the sagely emperor.

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If the royal soldiers were willing to protect the Zhao Orphan, I will appeal to the supreme ruler for his decision!

Topic: Han Jue Saves the Brave Man Who Is Ready to Die; Cheng Ying Vies with the Worthy and Gives Up His Son Title: Gongsun Chujiu Matches Duty with Duty; The Zhao Orphan Requites Carnage with Carnage

n ot es 1. Zuozhuan, Gongyang, and Guliang are traditionally classified as exegetical traditions of Chunqiu (Spring and Autumn Annals), whose putative author or editor is Confucius. Zuozhuan differs from the other two in being much longer and more committed to narrative. It overlaps in content with Guoyu: both are dominated by accounts of Jin affairs. 2. See Zuozhuan Xuan 2.3, Cheng 4.6, 5.1, 8.6, 10.4, in Yang Bojun, Chunqiu Zuozhuan zhu (hereafter Yang), 655–63, 819–22, 838–39, 849–50. Zhao Dun, who had facilitated the accession of Lord Ling of Jin in 620 b.c.e. (then a mere infant or very young child) after initial vacillations (Wen 7.4, Yang, 558–61), was probably responsible for his assassination thirteen years later (607 b.c.e.). That story, couched in terms of Lord Ling’s misdemeanors, defiance of remonstrance, and murderous plots against Zhao Dun, raises questions on the justification of assassinating a ruler, the adjudication of responsibility, and “truth” in historical records. The Zuozhuan account of Lord Ling’s assassination betrays a distinct pro-Zhao bias. Our play transforms Zhao Dun from likely perpetrator into archvictim. Zhao Dun is mentioned in records pertaining to 603 b.c.e., and by 601 b.c.e. his son Zhao Shuo has succeeded him, so he probably died around 602 b.c.e. Despite the toll of the crisis that later destroyed Zhao Dun’s brothers and their families in 597 b.c.e., the Zhao lineage regained its influence and was one of the three clans that partitioned Jin in 453 b.c.e. 3. Han retellings of this story (see Liu Xiang, Xin xu jinzhu jinyi 7.254–59, Liu Xiang, Shuoyuan jinzhu jinyi 6.177–78) suggest that “Tu’an” is understood as the surname, and Zheng Qiao (1104–1162) also lists “Tu’an” as a “double surname” (fuxing 複姓) in Tongzhi (29.480–81). However, Ji Junxiang regards “Tu” as the surname; that is why Tu Angu names his adopted son Tu Cheng. For the sake of consistency, we have rendered the name as Tu Angu in Shiji as well. There is a passing reference to one official by the name of Tu’an Yi in Guoyu, “Jin yu 2,” 8.305. However, there in no indication of any powerful “Tu” or “Tu’an” lineages in extant pre-Han accounts about Jin. 4. Wu-chi Liu reviews some of the historical sources of the play in “The Original Orphan.” Sima Qian’s account (Shiji 43.1783–85) is not traceable to extant earlier sources and is also contradicted by his own narratives in other chapters of Shiji. Many notable historians and scholars have expressed their skepticism about this story, including Liu Zhiji 劉知幾 (661–721), Hong Mai 洪邁 (1123–1202), Wang Yinglin 王應麟 (1223–1296), Fang Yizhi 方以智 (1611–1671), and Liang Yusheng 梁玉繩 (1744–1819).

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5. This is the title of the play in Anthology. The Yuan Editions version has a different title and topic, which are listed at the end of the translation of that edition. The Tianyige version of The Register of Ghosts gives its title as “Gongsun Chujiu Meets Duty with Duty, / The Zhao Orphan Requites Carnage with Carnage” (Yi feng yi Gongsun Chujiu, yuan bao yuan Zhaoshi gu’er 義逢義公孫杵臼，冤報冤趙氏 孤兒) (Zhong Sicheng, Lugui bu, 149). 6. In one version of The Register of Ghosts, his name appears as Ji Tianxiang 紀天祥 (ibid., 68). 7. Whether Cheng Ying has the right to give up his own son’s life or whether one baby’s life may be worth more than another’s are questions often debated in the classroom when this play is taught. What may seem an ethical quagmire to us is sometimes presented as unambiguous moral choices in much of premodern Chinese literature: a parent sacrificing a child out of his or her sense of duty is often praised as a selfless hero. 8. See Wang Guowei, Song Yuan xiqu shi, 102. 9. See Zang Maoxun, YQX, 7:3713–3761; Xu Qinjun, Xin jiao Yuan kan zaju sanshi zhong, 1:308–26. 10. Idema, “Traditional Dramatic Literature,” 804. See also Idema, “Orphan of Zhao.” 11. A series of arias from another play attributed to Ji, Chen Wendao Reaches Enlightenment in the Dream of Pine Shadows (Chen Wendao wudao songyin meng 陳文道悟道松陰夢) (also called Li Yuanzhen in the Pine Shadows [Li Yuanzhen songyin ji 李元真松陰記]) is included in Zhao Jingshen, Yuanren zaju gouchen. 12. On adaptations and translations of this play, see Hsia, “Orphan of the House Zhao.” 13. “Ling” 靈 is the Jin ruler’s posthumous honorific, and it is of course anachronistic for Tu Angu to refer to him as such. As posthumous honorific, “Ling” conveys negative judgment. 14. In imperial times, officials would go to the countryside to encourage agriculture; that ritual is called speeding the plow. The translation follows Cyril Birch’s rendering of the term in The Peony Pavilion. 15. Western Rong is one of the “barbarian” groups in early China. Erya zhushu (10.195) defines ao 獒 as a large hound of about four chi (roughly three feet), and Xu Shen, Shuowen jiezi (10A.5b) identifies it as a hound trained to do its master’s bidding. 16. In audiences with the ruler, officials write down the points they wish to make on an ivory or bamboo tablet they hold with both hands in front of their chests (Liji zhushu 13.559, “Yuzao” 玉藻). The image here evokes officials who are too terrified to remonstrate with the ruler. 17. Yao and Shun are legendary sage-rulers of ancient China. The xiezhi 獬豸 is a mythical animal endowed with prescience and unerring judgment. 18. The stories of Chu Ni, Ti Miming, and Ling Zhe are told in Zuozhuan (Xuan 2.3, Yang, 655–63), where Lord Ling is the one who unleashes a hound to attack Zhao Dun. The Zuozhuan account ends with the assassination of Lord Ling by Zhao Dun’s kinsman Zhao Chuan. 19. Being allowed to commit suicide is also “a gift from court” (chaodian 朝典). 20. Han Feizi was executed at Yunyang 雲陽 (Shiji 6.232), and Yunyang is often used in later writings, especially fiction and drama, to refer to execution. 21. A person who has died a natural death at home is usually buried with his ancestors. 22. Jin forces were divided into the upper, middle, and lower armies (shangjun 上軍, zhongjun 中軍, xiajun 下軍) during the Chunqiu period. Han Jue leads the lower army at one point (Zuozhuan Cheng 13.3, Yang, 865). 23. Feuds during the Chunqiu period often resulted in entire lineages being wiped out, but the idea of eliminating “nine sets of relations” (jiuzu 九族) as punishment is a later idea. The term refers to four sets of relations on the father’s side, three on the mother’s side, and two on the wife’s side. There is also a “vertical” explanation of the term that counts upward to the great-great-grandfather and downward to the great-great-grandson.

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24. Literally, “the general guarding the world beyond the city gate” (kunwai jiangjun 閫外將軍). The Han official Feng Tang says to Emperor Wen that Han failed to control the Xiongnu because the emperor did not give his generals free rein. Feng cites ancient rulers who were content to control “affairs within the city gates” and to leave “affairs beyond the city gates” to the generals (Shiji 43.2758). 25. In Zuozhuan, we are told that Han Jue was raised by Zhao Dun (Cheng 17.10, Yang, 903); it is because of Han’s intercession with the Jin ruler that the Zhao line is not completely decimated after internecine strife (Cheng 8.6, Yang, 839). Han Jue is the hero in the Shuoyuan version of the story, which belongs to the chapter “Requiting Beneficence” (Fu’en 復恩). 26. The word for “ginseng” (renshen 人參) is homophonic with that for “human body” (renshen 人身). 27. “To become a man”—to have a chance to escape death—means enduring the discomfort of the medicine chest. But these lines also refer more generally to the difficult choices that the characters in this play face. 28. Zhao Shuo speaks of his parents’ wrongful deaths in the wedge, but here it seems Zhao Dun is supposed to have escaped. In act 4 Zhao Dun is said to have died in the wilderness. 29. Literally, “a sightless service,” meaning “a service that assumes that heaven is sightless.” 30. Lu Ji 陸機 (261–303), “Tanshi fu” 嘆逝賦 (Xiao Tong, Wenxuan 16.726): “I sigh that, when the fragrant zhi is burned, the hui [orchid] sighs” (Jie zhi fen er hui tan 嗟芝焚而蕙嘆). The line is rendered less literally in chap. 2, this volume, act 4: “The orchid turns when the fragrant herb burns.” 31. Literally, “courage that envelops the person.” 32. The word for both “pearl” and “pupil” is zhu 珠. Those who have “eyes without pupils” lack judgment. Here Han Jue is accusing Cheng Ying of misjudging him. 33. In Zuozhuan, Jin is the only domain said to have “three armies.” 34. The corresponding term here is huaben 話本, texts for storytelling since Song times. 35. There is a discrepancy in the plot here. In act 1, Tu does not give the order to have the baby brought to him. 36. Another discrepancy: the Zhao Orphan is supposed to be less than a month old at this point. 37. In Shiji (43.1783), Gongsun is a retainer of Zhao Shuo’s. 38. Literally, three qing 頃—one qing is approximately fifteen acres. 39. That is, Gongsun used to have military duties but now lives like a recluse. 40. Diao’ao ke 釣鰲客, literally “angler of the mythical turtle,” a contrastive parallel with “the likes of dog butcher” (tugou bei 屠狗輩). 41. Literally, arrayed “bird rows” (of officials) and “leopard-tail carriages.” 42. Actual titles of the “three chief ministers” vary according to period. The term did not appear in accounts of Jin court from the Chunqiu period. 43. What we translate as “bushel” is an ancient measure of grain (zhong 鍾) that might have amounted to about 640 kilograms. 44. Literally, “arrayed cauldrons [serving food] and layers of mattresses.” 45. Hundun 渾敦, Qiongqi 窮奇, Taowu 檮杌, and Taotie 饕餮 are the evil sons of great lineages banished by Shun to the four margins of the domain during the rule of King Yao (Zuozhuan Wen 18.7, Yang, 636–42). 46. A human being; “black” refers to the color of hair. The version of these two lines in Yuan Editions seems to make more sense (see this chap., p. 60). 47. Lunyu zhushu 2.24. Meng Chengshun comments on these lines in Libation: “Only heroes who see through life and death can utter such words” (Xin juan gujin mingju leijiang ji, Zhaoshi gu’er, 19b). 48. The Tang official Lai Junchen asked Zhou Xing how he used torture to force confession, and Zhou described how he would force suspects to step into a burning cauldron. Lai then told Zhou he should

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49.

50.

51. 52.

53. 54. 55. 56. 57.

58.

59. 60. 61. 62. 63.

64. 65. 66.

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expect the same torture (Sima Guang et al., Zizhi tongjian 204.6472). The allusion thus refers to punishment that the unsuspecting offender had designed for others. Here it merely means a punishment that the offender should expect. An official notice for the wanted is taken down (jie 揭) when someone has the answer—that is, can produce the person who’s being sought. The solution of such a case would be so momentous that even heaven would shake in fear. More literally, Jin will be able to make full use of its topography and defy stronger enemies. Bai’er shanhe 百二山河 means “mountains and rivers that create such a strategic advantage that twenty thousand troops would be the equivalent of a hundred thousand” (Shiji 8.382). According to Shiji (43.1784), Tu Angu started the coup against the Zhao lineage in the Lower Palace (Xiagong 下宮). Gongzi Guang of Wu sends Yao Li to assassinate his rival, Qingji. In order to gain access to Qingji, Yao Li has to pretend to vow vengeance against Gongzi Guang. Yao Li thus stages his punishment by Gongzi Guang, who has Yao Li’s right arm cut off and his wife killed. Through such an unspeakable sacrifice, Yao Li manages to become Qingji’s retainer, but he ultimately fails in his assassination attempt and kills himself (Lüshi chunqiu jiaoshi 11.587–88). Yao Li comes to symbolize unconditional loyalty and an unflinching sense of honor. The term wenjing jiao 刎頸交 means “friends who would slit their throats (for each other)” and is from Shiji 81.2443. A warrior’s belt displaying a pattern of lions and barbarians. That is, he will pay for it someday if there is any justice under heaven. By the Chinese way of counting, a child is one at birth. The baby is, of course, only ten days old. All three are standard expressions. The first two (“The horses are strong, the soldiers brave,” “The father is loving, the son filial”) describe ideals related to the polity and family. The third maintains that the subject should share the distress of the ruler. It is from this point on that the orphan addresses Cheng Ying as simply “Father” (diedie 爹爹), instead of “Father on This Side” (zhebixiang diedie 這壁廂爹爹), a form of address that implies his tie with Tu Angu, “Father on That Side” (nabixiang diedie 那壁廂爹爹). This is one of the inconsistencies in the play. On the previous day the ruler was still Lord Ling. The historical Lord Dao ruled from 586 to 558 b.c.e. The “wooden donkey” (mulu 木臚) is a bed of nails atop wheels. The criminal is perched on it while being paraded. Earlier, Han Jue’s rank is said to be “commander of the lower army.” The version of the text in Libation has the same title and topic. For the expression (slightly modified in the text here) “to manipulate the Son of Heaven and (in his name) command all under heaven (or the nobles)” (xie tianzi yi ling tianxia xie tianzi yi ling zhuhou 挾天子以令天下, 挾天子以令諸侯), see Zhanguo ce 3.115; Lu Ji, “Bianwang lun” 辯亡論, in Xiao Tong, Wenxuan 53.2312. The line is often used to describe how Cao Cao, at the end of the Han dynasty, issued commands to military leaders in the name of the Han emperor. This line refers to the Jin ruler. The stories of Chu Ni and Ling Zhe are told in the wedge of the play in Anthology. During the Jin dynasty, a stone qilin 麒麟 (a mythical animal) was placed by the graves of lords. The allusion here is to Du Fu’s line “At the imposing grave by the garden, the qilin was lying down” (Yuanbian gaozhong wo qilin 苑邊高冢臥麒麟) (Du Fu, Du shi xiangzhu 6.447). In Du Fu’s line, the image evokes chaos and destruction in postrebellion Chang’an. Here, instead of mutability, the image represents a dignified death.

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67. 68. 69. 70. 71. 72. 73. 74.

75. 76. 77.

78. 79. 80. 81. 82.

83. 84. 85. 86. 87.

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The tune title is “West of the River Version of Flowers in the Rear Courtyard” in Anthology. Literally, “cut the grass and eradicate the roots.” Lines from “Blue Song” and “Coda” in act 1 of the Anthology edition overlap with lines in this aria. Gou 彀 is literally “arrow” or “the distance covered by a shot arrow.” It has come to mean “trap,” as in the expression “Please, sir, this way to the trap” (Qingjun rugou 請君入彀). The glue made from a fish’s air bladder is said to be highly adhesive. Literally, “there are so many affairs in the world that are enveloped in silence,” which means both “they can be understood without being said” and “nothing can be said about them.” The couplet works on the parallelism between “white-clothed minister” (i.e., a minister who rises from humble origins) and “black-headed worm,” an unworthy person. “Nine cauldrons” usually refer to the nine ritual tripods that symbolize the mandate to rule. Here the idea of the cauldron is combined with that of the wok (the original has “a wok like the nine cauldrons”) to conjure the image of a container with liquid in which the victim is boiled alive. The Qilin Room is where the portraits of meritorious officials are honored. Literally, “I do not believe that canine traces will be found in front of the tiger’s gate.” The Anthology edition has “Cheng Ying’s tongue,” which follows more logically from the plot. Here the aria follows another line of reasoning: Gongsun Chujiu is said to bring the execution upon himself by exposing how Tu Angu has usurped power and made a puppet of Lord Ling. “Five Skandha” relates to the Sanskrit term for the five elements that constitute the illusion of self. Here it is just a way of describing Tu Angu’s rage. Literally, “hard to scratch the itch of his heart.” Here “the Son of Heaven” refers not to Lord Ling but to Tu Angu, the prospective ruler as Cheng Bo imagines it. Literally, “calls himself ‘the Unworthy One’ [gua 寡] and ‘the Orphaned One [gu 孤]’ ”—gua and gu are conventional modes of self-address for rulers, especially in the preimperial period. The uncommon phrase xiedan 歇膽 means, literally, “gallbladder stopping.” The gall bladder (dan) is the organ associated with courage, so this can mean that all who confront Cheng Bo will fail in their courage. Xu Qinjun thinks the two characters xiedan may in fact be xieao 蝎螯 (scorpion): “All will be fearful and cowed by me, as by a scorpion” (Xin jiao Yuan kan zaju sanshi zhong, 324). Literally, “the crown level with heaven,” described as a kind of crown with rows of white-jade beads in the front and back that the emperor wore for major sacrifices. There would be no heavenly justice if Cheng Bo were to adhere to his earlier proclamation and help Tu Angu usurp the throne. “One man” can mean Zhao Dun and his clan by implication, or it can (less plausibly) refer to the Jin ruler. The “he” in question probably refers to the Jin ruler. The person taught to “assassinate his ruler and murder his father” would be Cheng Bo himself, since he is on the cusp of joining Tu Angu in his usurpation. By acting as Tu Angu’s son, he would be complicit in his own father’s murder.

2 t r Ic k In g k uaI t ong

anonymous Trans laT e d by Wa i -yee li

IntroductIon Wa I- y e e L I

Q

in unification in 221 b.c.e. ended centuries of a de facto multi­ state system and introduced a level of standardization and central control hitherto unknown. The Qin Empire, however, began to disintegrate not long after the death of the First Emperor of Qin (r. 246 b.c.e.–210 b.c.e.). At first some of the forces that rose up in insurrection looked to the resurgence of the pre­Qin aristocratic elites of other domains eliminated by Qin. It soon became obvious, however, that a commoner’s ori­ gins are no obstacle to meteoric rise, as evident in the ascendancy of Liu Bang, posthumously honored as Emperor Gaozu (r. 206 b.c.e.–195 b.c.e.). The subsequent success and duration of the Han dynasty may confer the aura of historical inevitability on the rise of Han, but during the chaotic years of Qin­ Han transition—indeed, well into early Han—there was greater uncertainty. The Han historian Sima Qian, for example, looks back on the period of Qin­ Han transition with a sense of wonder, almost puzzlement: “In five years, the command of the realm changed three times. From the beginning of human history, there was never a time when the mandate to rule changed so quickly” (Shiji 16.759). One of the “might have been” scenarios was the tripartite division of the realm in the early third century b.c.e. In 204–203 b.c.e., when the outcome of the struggle for supremacy between Xiang Yu, King of Chu (also called the

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Overlord of Chu or King Xiang in the play), and Liu Bang, King of Han, seemed uncer­ tain, the person who could have formed “the third foot of the tripod” was the strategic genius Han Xin, Liu Bang’s marshal. According to the chapter devoted to Han Xin (juan 92) in Records of the Grand Historian, Han Xin had humble beginnings. A short stint in Xiang Yu’s camp ended when Xiang failed to heed his strategic proposals. His service under Liu Bang might have been similarly brief had Xiao He (who later became prime minister during the reign of Emperor Gaozu) not recognized his genius and urged Liu Bang to make him marshal. Han Xin’s military successes were instrumental in the found­ ing of the Han dynasty, but Liu Bang had always regarded Han Xin with suspicion, and Han Xin was charged with treason and executed in 196 b.c.e. Sima Qian does not explicitly state that the charge is unfounded but implies Han Xin’s innocence by, among other things, adding a passage in which Han Xin refuses to heed his adviser Kuai Tong’s suggestion that he should carve off his own power base and turn against Liu Bang. With the typical rhetorical prowess of Warring States persuaders, Kuai urges Han to establish himself as the third power in a threefold division of the realm. Having failed to convince Han Xin to rebel (Shiji 92.2623–26), Kuai ends up “feigning madness and becoming a shaman” (yangkuang wei wu 佯狂爲巫). “Feigning madness” became a wonted way to avoid persecution or to enact detachment in the Chinese tradi­ tion, and in our play madness is presented as a kind of higher reason as well as political protest. After Han Xin’s arrest, he is said to have regretted not heeding Kuai’s advice. Liu Bang then arrests Kuai for sedition but releases him when Kuai defends his earlier coun­ sel as loyalty to Han Xin. Originally named Che, Kuai is called Kuai Tong in the Han histories out of respectful avoidance of Emperor Wu’s (r. 141–87 b.c.e.) given name (Liu Che).1 (In this play he is called Kuai Che or Kuai Wentong, although the name “Kuai Tong” is used in the title. To avoid confusion, we have translated his name throughout as “Kuai Tong.”) According to Ban Gu’s 班固 (32–92) “Treatise on Writings and Letters” (Yiwen zhi 藝文志), Kuai Tong records examples of the strategic reasoning of Warring States persuaders and adds his own preface in a compilation entitled Junyong 雋永, now no longer extant (Hanshu 45.2167). Heroes and events from the Qin­Han transition are presented in a number of Yuan (or Ming) zaju plays. All of them, except our play, describe how strategists and generals join Liu Bang’s cause and achieve victory in triumphal stories of dynastic rise and merit rewarded. Zhang Liang Humbly Presents Shoes at the Bridge (Zhang Zifang yiqiao jin lü 張子房圯橋進屨) by Li Wenwei 李文蔚 (thirteenth century), for example, traces the rise of Zhang Liang, and the anonymous Han Ministers Return Home in Brocade (Han gongqing yijin huanxiang 漢公卿衣錦還鄉) celebrates the fruit of victory for Liu Bang’s supporters.2 Han Xin’s strategic genius is described in the anonymous Marshal Han Secretly Passes Through Chencang (Han yuanshuai andu Chencang 韓元帥暗度陳 倉).3 His rise to glory is the subject of Jin Renjie’s 金仁傑 (d. 1329) Xiao He Pursues Han Xin in the Moonlit Night (Xiao He yueye zhui Han Xin 蕭何月夜追韓信), found only in Yuan Editions.4 It tells the story of how the disaffected Han Xin leaves the service of

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Liu Bang only to be pursued by Xiao He, who recognizes Han’s genius and eventually convinces Liu Bang to confer on him the title of marshal. Han Xin then plays a crucial role in Liu Bang’s victory. The play here deals with a less­happy chapter in the association between Xiao He and Han Xin. The same discernment that allows Xiao He to recognize Han Xin’s genius also instills fear of Han’s potential sedition once the empire has been unified. Here Xiao He plots Han Xin’s downfall, although, according to Sima Qian, Liu Bang is the main culprit in turning against his erstwhile comrades. The literal translation of the title of our play is Sui He Tricks the Mad Kuai Tong (Sui He zhuan fengmo Kuai Tong 隨何賺風魔蒯通), or, abbreviated, Tricking Kuai Tong (Zhuan Kuai Tong 賺蒯通). Sui He is featured in several other Yuan plays. In Shang Zhongxian’s 尚仲賢 (thirteenth century) The First Han Emperor Washes His Feet to Provoke Ying Bu (Gaohuang zhuozu qi Ying Bu 高皇濯足氣英布), which appears in both Yuan Editions and Anthology,5 Sui He convinces Ying Bu to switch allegiance from Xiang Yu to Liu Bang during the Chu­Han struggle. Sui He is the male lead in Using His Schemes, Sui He Tricks Ying Bu (Yun jimou Sui He pian Ying Bu 運機謀隨何騙英布): here his role as trickster is more prominent as he brings Ying Bu to Liu Bang’s camp by sowing suspicion between Ying Bu and his adviser, Fei Ke.6 Sui He is famous for his wit and powers of persuasion (Shiji 55.2039, 91.2599–2603), but in Tricking Kuai Tong his “trickery” is limited to hiding and overhearing the supposedly mad Kuai Tong lamenting Han Xin’s fate and his own. Despite Sui He’s success in “outwitting” Kuai Tong, the latter is vindicated in the play on two levels: his prescient judgment in remonstrating with Han Xin is borne out by the latter’s betrayal, and his eloquent defense of Han Xin’s loyalty to the Han dynasty results in the rectification of a historical injustice. The account of Han Xin in Records of the Grand Historian ends with the eradication of his clan, and any “rectification” of his wrongful accusation is merely “the historian’s justice.” In the Yuan play, as recompense for Han Xin’s unjust death, the Han officials who bring about his execution have a collective change of heart after listening to Kuai Tong’s enumeration of Han Xin’s achievements and loyalty. Liu Bang, historically responsible for plotting Han’s death, is here represented by an offstage voice decreeing Han’s rehabilitation and Kuai’s reward. The belated remorse of the Han emperor and the ministers who brought about Han Xin’s death is hardly convincing—it seems to be no more than an attempt to amelio­ rate tragedy and to glorify the power of Kuai Tong’s rhetoric. In this sense, the play reins in the anger and lament roused by the betrayal of a loyal official by a perfidious court and adheres to the idea of a basically just polity with a worthy ruler, although its most heart­ felt arias, sung by Zhang Liang in act 1 and by Kuai Tong in acts 2 to 4, uphold political disengagement or the longing for freedom from the political realm. Ultimately, personal loyalty is more tangible and reliable than political loyalty. In Ban Gu’s Han History, Kuai serves other masters before and after Han Xin (Hanshu 45.2159–67), but the play empha­ sizes his exclusive loyalty to Han Xin. While Kuai’s identity as rhetorician persists from the historical accounts to this dramatic reenactment, the purpose of rhetoric is different. In Records of the Grand Historian and Han History, rhetoric is usually concerned with

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power politics and strategic reasoning; here rhetoric vindicates fundamental probity and urges reciprocity. Tricking Kuai Tong is mentioned in Zhu Quan’s Correct Sounds. In addition to the version in Anthology, on which this translation is based,7 the play also exists as one of the “palace manuscripts” (neifu ben 內府本) in the Maiwang Studio Collection. Significant textual variations are explained in the notes. In general, the diction in the Anthology ver­ sion is more polished, and its conclusion is more rueful, almost ironic, as if in recognition that the vindication of Han Xin and Kuai Tong is but a necessary fiction. The shorter act 4 in the palace manuscript is more insistently (and incongruously) cheerful, using as finale a celebratory feast.

trIckIng kuaI tong D r a m at i s P e r s o n a e

Role type Opening Male Comic Male Lead Extra Male Male Lead Extra Male Extra Male Extra Male Extra Male Children Guards Soldiers

Name, social role Xiao He, prime minister, Lord of Zan Fan Kuai, general, Lord of Wuyang Zhang Liang, counselor, Lord of Chenliu Han Xin, marshal, King of Qi Kuai Tong, persuader, Han Xin’s adviser Sui He, Han official Cao Can, Han official, Lord of Pingyang Wang Ling, Han official, Lord of Anguo Palace Official

ac t 1

(Opening Male dressed as Prime Minister Xiao He enters leading the Guards.) Xiao He (recites:) For generations, records and texts are in Qin archives not kept,8 Among clerical officers of the Han, I am most adept. Just look at the three Basic Articles of the Legal Code: The merit of the Lord of Zan is of the premium mode.9

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The name of this humble official is Xiao He, a native of Feng Pei.10 For my merit in helping the Han emperor, I have been honored with the post of prime minister. Keeping my place in court, there is only one thing that makes me uneasy: there are three ministers of great achievements in our house of Han: first and foremost, Han Xin; second, Ying Bu;11 third, Peng Yue.12 Now Han Xin is enfeoffed as King of Qi, Ying Bu as King of Jiujiang, Peng Yue as King of Daliang. Han Xin’s military power is overwhelming—stalwart troops by the hundreds of thousands, battle­tested gener­ als by the scores. This cannot but bode trouble. As the saying goes, “Peace is by the general wrought, peace is for the general fraught.” Now I was the one who originally recommended Han Xin for office: he ascended the altar and was appointed marshal, and in five years he crushed Xiang Yu and elevated Liu Bang, helping to accomplish the Great Enterprise. For all I know, this man is someone to reckon with. Even the great overlord of Chu was destroyed by him! How much more worrisome then that he should now have power over the troops! If he were to harbor deviant intent, would he not regard the Han dynasty as something he could flip like the palm of his hand! Now this is not because “it is Xiao He who makes him, it is Xiao He who breaks him”13—this is not some unsavory flip­flopping business. But if one of these days the person I recommended were to make trouble, then surely your humble servant will be implicated and branded guilty by association. For this I have been racking my brain day and night: unless I can deploy some scheme, make my case with the emperor, act first to remove this person’s teeth and claws and then cut him down—only then would I never need to worry about future woes. Some days earlier, Fan Kuai, Lord of Wuyang, conferred about this with me, and I am more than ever filled with suspi­ cions and hesitations.14 Guard, bring Fan Kuai here. Guard: Yes Your Honor. This way please, General Fan. (Comic dressed as Fan Kuai enters.) Fan Kuai (recites:) Bursting upon the scene at Hongmen: how daunting was my valor!15 It was enough to knock King Xiang Yu off his chair!16 As reward I got a vat of good wine, plus a pork shoulder: Gorged with food and drink, for half a month I was ever bolder! I am none other than Fan Kuai, a native of Pei county holding the title of Lord of Wuyang. Ever since Han rule was established over the realm, there’s been peace in the eight directions and calm in the four seas. Now that there’s nothing much to occupy me, it occurred to me since I started out as a butcher, I must not let my original trade go rusty. That’s why I am practicing my old­timer’s skill and killing dogs for a lark.17 The prime minister is summoning me: I wonder what it’s all about, but there is no shirking the trip. Before you know it, here I am. Guard, report that Fan Kuai is get­ ting down from his horse. Guard (reports:) Reporting to the prime minister: Fan Kuai has come to the gate. Xiao He: Invite him in.

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Guard: Please enter. Fan Kuai (greets the Prime Minister:) For what official business did the Prime Min­ ister summon this old man? Xiao He: General Fan, I invited you here today because of the matter concerning Han Xin—and there is nothing more urgent. In the beginning it was I who recommended him—but this man now has too much power over the troops, if—as I fear—one of these days he harbors seditious intent, what is to be done? As I mull over this, I real­ ize that you alone among the numerous meritorious officials are a close relative of the emperor’s.18 You must feel personally responsible for his well­being; that’s why I have invited you to confer about this. Fan Kuai: Prime Minister, back then your humble servant already made his case: Han Xin was but a starveling of Huaiyin.19 Consider how, when our lord was stranded at the Hongmen meeting, I barged in, tramping down the Hongmen gate. Taking note of how awe­inspiring my demeanor was, King Xiang Yu bestowed on me a dipper of wine and a haunch of raw pork shoulder, which I devoured with a clean sweep. This shocked King Xiang so much that, eyes staring straight and mouth agape, he could scarcely move. It was only thus that we managed to protect our lord and have him return unscathed. Later, when the altar was built for the appointment of the marshal, I figured that the position would surely be mine. Prime Minister, wasn’t it your doing that things turned out otherwise! Xiao He (smiles:) It wasn’t quite like that. Fan Kuai: You appointed that starveling marshal for nothing! Had you appointed me, it would not have taken five years to destroy Chu—Xiang Yu would have fallen into my clutches like a baby. Now that the big picture is settled, we could let that pass. But that Han Xin is a weakling who scarcely had the strength to wring the neck of a chicken. When those two youths in the marketplace in Huaiyin made him crawl between their legs, crawl he did.20 What could he be good for? Why bother old Fan to bestir himself ? All you need is a couple of able­bodied men to summon him here and then—k’cha!—in one fell swoop he would be cut in two. That would take care of all future troubles, isn’t that simple enough! Xiao He: Yet I do not dare to act without due deliberation. Guard: ask Zhang Liang to come here.21 Fan Kuai: That old fellow dithers even more. Let it be—send for him. (Male Lead dressed as Zhang Liang enters.) Zhang Liang: The name of this humble official is Zhang Liang, and my sobriquet is Zifang. A native of Hán, I came from a family that had, since my grandfather’s generation, served as ministers for five Hán rulers. The First Qin emperor, flout­ ing all rightful conduct, destroyed the domain of Hán. In order to avenge the fallen kingdom, I became a follower of the Han king Liu Bang. When Qin collapsed, our domain of Hán was to be reinstated. Who would have thought that Xiang Yu would wipe out Hán again! That’s why I have been single­mindedly helping the Han king to

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go after Xiang Yu.22 Now the dust is settled and peace has been restored in the realm. The prime minister has requested my presence—I wonder what this is about. Well, I would have to go. Come to think of it, for me to assist in the founding of the Han dynasty was no easy matter! (Sings:) [Xianlü mode: Touching Up Red Lips] And all because books were burned and scholars were buried alive,23 Because punishments were heavy and corvée labor was rife, Fury was fanned, As all vied for power in the land.24 But now we have already established dominion for an enlightened ruler. [River Churning Dragon] Just consider: before I met with recognition, I was but a fugitive fleeing what I could tell was Qin disintegration. At long last peace reigns for the realm under Liu rule, And I became chancellor for having been fortune’s tool.25 That being made lord of this Chenliu settlement Is an improvement of my youthful Xiapi lot is evident.26 The Strategy of Master Yellow Stone I have pondered,27 Over the terrains of Lü Wang’s Art of War I have wandered.28 I have assisted the emperor in expeditions north and south, And followed the various generals in their campaigns east and west. Next to the autumn wind, I had our men sing Chu songs with abandon:29 Xiang Yu’s soldiers at Gaixia have long since been blown to oblivion.30 The one with double pupils, for all his soaring might,31 How could he emerge from an ambush on ten sides tight? Unable to face again the Eastern Wu men he failed, He fell on his sword by the Black River, as fate is unveiled.32 On the basis of one man’s ascendancy, The entire realm suffers no more untoward expectancy. (Speaks:) Here I am already. Guard: report that Zhang Liang is getting off his horse. Guard: Yes sir. (Reports:) Reporting to the Prime Minister: Zhang Liang has come. Xiao He: Invite him in. Guard: Please come in. Zhang Liang (greets those present:) Prime Minister, what are we conferring about? Why did you ask me to come? Xiao He: Chancellor, I invited you to come because of only one thing: our concern about Han Xin. In the beginning I was the one who recommended him for office, but he now has too much power over the troops. I fear if in the days to come he is to harbor evil designs, I will be implicated as his recommender. How will I extricate myself then? That’s why I requested your presence at this special meeting. How can we get rid of him to forestall future disaster?

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Fan Kuai: I reckon Han Xin was but a starveling of Huaiyin: what merit can he boast of? What is he good for? In my humble opinion, all we need to do is to send someone to fool him into coming here. Then it would be a matter of a simple execution—what is the big deal? Zhang Liang: General Fan, you are mistaken! Han Xin brought peace and stability to the realm; the dynasty was founded on his achievements. The world knows of no offenses on his part, and if he were to be cut down, wouldn’t that greatly distress the people? Prime Minister: you must consider this carefully, do not act rashly! (Sings:) [Oily Gourd] Back then when together we rose to topple the Qin and take on the world, It was all our doing: we the leaders civil and martial. (Speaks:) Prime Minister, just think: (sings:) Who dared to tangle with King Xiang’s horse and fight to the last? Had that Han Xin refused to bid farewell to Chu, This Han emperor would have been stranded in Shu.33 That’s why I held up one sheet of petition, And you thrice offered recommendation To have the altar built to honor the supreme marshal. Isn’t it said that a noble man’s first resolve should be an untarnished marvel? Xiao He: Chancellor, but what merit may Han Xin claim? The eradication of Xiang Yu was due to the great good fortune of the emperor and the valor of all the generals. They drove Xiang Yu to fall on his sword by the Black River. Zhang Liang: Prime Minister, how could you say that? If it were not for Han Xin—(sings:) Now that the imperial abode is by mountains and rivers fortified,34 He must be hoping that a promotion is justified. Instead you are going to have him cut down: Haven’t you heard? Pervert justice35 and the people won’t be mollified. I am not being facetious, But you, Prime Minister, have to think beyond the specious: Who was it indeed that overthrew Xiang Yu of Chu? Xiao He: I may lack talent, but having enjoyed the ruler’s emolument, I have to loyally defend his entitlement. Now Han Xin holds the seal as the king of three Qi regions,36 and he controls a hundred thousand crack troops, plus a hundred or so battle­tested generals. If something goes awry, what is to be done! Fan Kuai: The prime minister is right. He is simply too powerful: if we don’t get rid of him, there is sure to be trouble. Zhang Liang (sings:) [Song of the God Nezha] At first you wanted him, And pushed him forward—moving the axis, moving the wheel.37 Then you feared him, Flustered by his demand for a fief, you stepped on the lord’s heel.38

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Now you suspect him And would have him and his clan wiped out, eager his fate to seal.39 He should be receiving ten thousand bushels of grain as emolument, Instead you are concocting a hundred spurious charges against his weal. Fan Kuai: Han Xin was just a starveling—he was made marshal for nothing. What merit can he claim? Zhang Liang: How could you not know his merit? In front of the Nine­Mile Moun­ tain, his battle formation was what drove Xiang Yu to kill himself at Black River. Leaving this great achievement aside for the moment, let me list a few other things for your information. (Sings:) [Sparrow on a Branch] He struck Chen Yu And showed strategic genius.40 He captured Xia Yue: His plot was seamless.41 Didn’t he block up the River Huai And cut down Long Ju at night?42 With a clever scheme, he seized Wei Bao, Using force, he triumphed over the king of Qi.43 His achievements are matchless in ages past and present! Xiao He: But it was the five lords who brought about Xiang Yu’s suicide!44 It had noth­ ing to do with Han Xin! Why did you give him all the credit? Zhang Liang: Prime Minister, this great confrontation at Gaixia in front of the Nine­ Mile Mountain,45 could it have escaped you? (Sings:) [Dodder] The lay of the land at the Nine­Mile Mountain he did assess, By the Eight Trigram formation, his troops he did press.46 All thanks to our Marshal Han who made himself the vanguard, The five lords could rush to the spot for the end foretold, And the one with double pupils is lured to take the Yinling Road. Even though his black steed could break through the closing circles,47 What could he do when that day by the river no boats showed? Have done! Have done! Han Xin accomplished all these great things, but even he is to be eliminated; how much more perilous it will be for someone like me! I would do better to take leave of the Son of Heaven, give up this purple robe and ivory tablet, and follow Master Red Pine and learn the Way.48 Wouldn’t that be great? Xiao He: Chancellor, you are mistaken! An official eats at a great hall and drinks wine bestowed by the emperor. How comfortable that life is! Turning things around, you want to abandon your official status and seek the Way. What for? Zhang Liang (sings:) [Golden Cup]

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Henceforth I see through waxing and waning, And figure out gaining and losing.49 Nothing compares to hiding in mountains and forests, leaving bells and tripods,50 being free of glory or shame. Taking leave early of the dragon towers and phoenix chambers, I abide only by this abode of meager name.51 Content to follow the path of the Hoary Four,52 I look back and the fate of Qu Yuan deplore.53 Xiao He: Chancellor, can’t you see how halberds line up outside my gate, whose ornate patterns announce an exalted estate? Isn’t that impressive? Zhang Liang (sings:) Who cares for the halberds lined up outside your gate, Or the patterns ornate announcing an exalted estate? Fan Kuai: Prime Minister, didn’t I say that we shouldn’t involve him? He has no clue about anything. How are we to conclude this business? Xiao He: General Fan, no undue haste, please. Let the chancellor go back first, and we can discuss this further. Zhang Liang: Forgive me, Prime Minister, I must now go to the mountains and cul­ tivate the Way. (Sings:) [Coda]54 Now I am leaping out of the arena of praise and blame, And have wiped clean the record for making a glorious name. My only goal is to cultivate the Way: from grains I refrain, till immortality I attain. Free from want, free from care, all else but freedom I disdain. Make no more mention of the dignities and insignia of office, Think again: how much do they really amount to? I cannot fail to heed the overturned carriage ahead: a warning for the next one in its stead.55 Seeing how Han Xin, the king of three Qi regions, will be the next victim, I must turn withdrawal into my dictum And let the myriad spirits support the emperor’s peacetime system. Fan Kuai: Prime Minister, this is what I suggest: send a messenger to Han Xin to an­ nounce that the emperor, planning to travel in Dreamy Clouds Mountains, summons Han Xin back to court to act as regent. I figure Han Xin, greedy for more power, will surely answer the summons and come to court. At that point strip him of his seal as the king of Qi and have him arrested and executed. There is no chance that he will manage to escape. Have no fear! Xiao He: What a clever plan! After I have an audience with the emperor in the coming days, we will have a messenger bearing the decree summoning Han Xin to return to court. Then we will trump up some charge of rebellion, brand him

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guilty of the Ten Great Crimes, and have him put to death.56 That is all I can wish for. (Recites:) On warm recommendation, he ascended the altars and built the Han dynasty. His power over the troops is too great: we fear the reversal of his pliancy. Fan Kuai (recites:) The plan is set: we will root out future trouble, Only then will Xiao He have proved his mettle.

ac t 2

(Extra Male dressed as Han Xin enters leading some Soldiers.) Han Xin (recites:) I have led the great army ever since I ascended the altar. I brought about Liu’s rise and Xiang’s fall; my fame cannot falter. Had I not left the lowly position in Xiang Yu’s camp, Who could have helped the emperor pacify the realm? My name is Han Xin, and I hail from Xiaxiang in Huaiyin. I started out under Xiang Yu’s command as an aide bearing halberd and shield. Later, thanks to Xiao He’s recom­ mendation, the Han king built a high altar and bowed to make me marshal. As the agent of the Liu house’s rise and of Chu’s destruction, I can boast of ten great achievements.57 Now the emperor is planning an excursion to Dreamy Clouds Mountains and is sum­ moning me to return to court, where I will serve as regent. Now my adviser Kuai Tong has a good plan for everything, so I have requested him to come and discuss this matter. Soldier: Kuai Tong, the marshal requests your presence. (Male Lead dressed as Kuai Tong enters.) Kuai Tong: My name is Kuai Tong, my sobriquet is Wentong, and I served under Marshal Han as adviser.58 I wonder why the marshal summoned me? I will have to go. Guard, report that Kuai Tong has come. Soldier: Reporting to the Marshal: Kuai Tong has arrived. Han Xin: Send him in. (They greet each other.) Han Xin: Kuai Tong, I send for you for this reason: Xiao He sent a messenger with a decree saying that the emperor, planning an excursion to the Dreamy Clouds Moun­ tains, is summoning me to court to act as regent. I have asked you to come to discuss this: Should I go? Should I not go? Kuai Tong: Marshal, you should not go. Recall how, after the collapse of Qin, Chu and Han struggled for supremacy and the outcome was uncertain. None could rival your mighty name, Marshal, as you destroyed Chu, brought Liu to power, and established the Han dynasty. You were made king of the three Qi regions and now hold the reins

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of military power. As the ancient saying goes, “He whose valor and schemes threaten the ruler is in mortal danger; he whose merit is greater than the realm is to rewards a stranger.” It refers precisely to this. If you go, Marshal, calamity will surely befall you. I beg you to consider this carefully. (Sings:) [Zhonglü mode: Powdered Butterflies] Back then when you as proxy king the three Qi regions pacified, He honored you, but not in good faith, as the real king ratified.59 At long last bringing peace to the realm, reigning supreme and serene,60 Reaching the point when strife in the land is no longer seen And clansmen no longer vent their spleen: It is indeed no easy feat. And now that the myriad domains have come to pay their respects, Your overwhelming power over the troops he grievously suspects.61 [Intoxicating Spring Wind] To what end did you the conflict with Chu transcend? Why must the Han house on you depend?62 Han Xin: Just consider: how I did exert myself to smite that overlord of Western Chu and establish the rule of our sage over the entire realm! Would his majesty betray me? Suppose I just make this one trip—what is there to fear? Kuai Tong (sings:) As the saying goes: In peacetime the former general is expendable. How can you fail to fathom this principle? (Speaks:) Marshal, as I see it, for all your great contributions you have ended up earning his suspicions. It would be better for you to return your seal of office, take to the green mountains, and be free from care and want. Wouldn’t that be wonderful! (Sings:) Even if you cannot bear to leave office, You must plan ahead: take care And guard your long­term welfare. Han Xin: Kuai Tong, but in my expeditions to the north and south, my campaigns to the east and west, I accomplished ten great things. How then can his majesty betray me? Kuai Tong: Marshal, don’t go! If you do, you will certainly come to grief. Han Xin: Kuai Tong, you are mistaken! In the old days His Majesty shared his very clothes and food with me.63 With all these past acts of kindness, can he really turn against me? It is not possible. Kuai Tong: Marshal, heed my advice, and you will come to no harm. (Sings:) [Ascending a Small Tower] Go and misfortune over puny luck will prevail, Your utmost loyalty and exertion will be of no avail. (Speaks:) Haven’t you heard the saying of the ancients? (Sings:) Be imposing, yet not overbearing, Be exalted, yet not toppling,

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Be filled to the brim, yet not overflowing.64 Don’t be recalcitrant And ignore my remonstrance. Why must you still strive for fame and gain? (Speaks:) If you do not heed my advice, (sings:) You will surely die an ignoble death: everything will be in vain.65 (Speaks:) Marshal, mark my word: follow the example of Fan Li and Zhang Liang.66 Make haste to leave behind your official title, and you will at least preserve yourself from harm. Han Xin: Kuai Tong, you are mistaken! Being an official is to be surrounded by servants and followers, wearing delicate silks and riding robust horses—what a glorious affair it is! Why would I, for no good reason, cultivate the Way, eating the seeds of pines and cypresses and sporting straw sandals tied with hemp strings? Why should I bear all these hardships? Kuai Tong (laughs:) Marshal, why do you think Fan Li and Zhang Liang hid their traces and let their names be forgotten? (Sings:) [Same tune as above] The one who made the Yue king overlord had his grand plan, The one who built Han rule, far and wide his achievements did span. Why did they escape the World of Red Dust, Why did they their fates to the green mountains entrust, Why did they to the meager fare of yellow leeks adjust?67 Their one and only goal was to nourish their virtue And to escape from judgment’s purview: There was no other. (Speaks:) I am remonstrating with you now for one reason alone. (Sings:) I just fear that, overtaken with disaster, you will find swift, contrary currents hard to master. Han Xin: Kuai Tong, no harm will come to me with this trip. Please don’t worry. Kuai Tong: Marshal, I am not trying to stand in your way, but you really must not go. I have an aged mother. If you do not heed me, I will right away take leave of Your Honor and return home to take care of my mother. Han Xin: Kuai Tong, just don’t worry. After my audience with His Majesty, it will not be long before I come back. Why would you take leave of me? Kuai Tong: If this is how things stand, it means you have set your heart on going. Guard, bring the paper money and rice soup I have prepared. Soldier: Yes sir. (The Soldier brings the paper money and rice offerings. Kuai Tong brings the paper money and rice soup to the front and offers sacrifices.) (Sings:) [Happy Three] Why am I pouring out this bowl of rice soup And burning this batch of paper money into ashes?

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It’s because for years now on the march we fought side by side, And we did pledge friendship that for self­sacrifice vied. Han Xin: Kuai Tong, have you gone mad? Why are you burning paper money and pouring out rice soup in front of me? What is this for? Kuai Tong (sings:) Let me make my meanings plain: Kuai Tong has no deep intention to sustain. It is fitting to offer libation while you are still among us, For after death sacrificial offerings will be superfluous. (Speaks:) Marshal, how do you compare with those two? Han Xin: Which two? Kuai Tong (sings:) [Paying Respects to the Son of Heaven] By my reckoning, Yong Chi deserved execution, While Lord Ding was not guilty of any crime. How could Xiao He be so perverse? He who saved the lord from the bottom of the well was beheaded. Isn’t there a moral in this tale embedded?68 Han Xin: Kuai Tong, just go back for now. Tomorrow I will take several hundred sol­ diers and head for the court and have an audience with His Majesty. Kuai Tong: Marshal, when you get there, don’t say that I did not try to dissuade you. (Sings:) [Teasing Children] Today Xiao He sows discord with his devious plot, Making a pitch­black hole where you will see not. When you, General, set foot in the capital, You will step in the trap That you of life will sap. He has concocted the tasty bait to catch the grand turtle, Prepared the bow in ambush to shoot the tiger. We are coming to grief, having enjoyed bliss all too brief.69 Han Xin: The emperor will go on an excursion to the Dreamy Clouds Mountains and has summoned me to serve as regent. Kuai Tong (sings:) Don’t ever dream of good fortune coming your way, More pressing is the disaster you cannot keep at bay. Han Xin: Kuai Tong, set your mind at ease. When I have an audience with His Majesty, I will know what to do. Kuai Tong (sings:) [Coda] Now I have come, I have come to the point70

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When counsel is of no avail, Counsel is of no avail. Don’t ever dream of leading troops as marshal prime, Unnatural death will be your lot: a displaced ghost for all time. (Exits.) Han Xin: Kuai Tong has left. Having led generals and commanded troops in battles after nights of sleeping on ice and snow, I built the foundations of the Han dynasty. I don’t believe I will come to harm. All you followers: come with me as we hasten through the night to reach the court and seek an audience with His Majesty.

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(Xiao He enters leading some Guards.) Xiao He: Since our last discussion with Fan Kuai about the issue with Han Xin, we actually managed, by sending a messenger, to lure Han Xin into returning to court, and he was executed. But there is this Kuai Tong in his camp: we have heard that he had repeatedly urged Han Xin not to destroy Chu and instead divide the realm into three. More recently, he had tried to convince Han Xin not to come to court. What impudence! We were about to arrest him and put him to death also, but he has gone stark raving mad. I wonder whether the report about that is true. Earlier I submitted a memorial to the throne, suggesting that an envoy be sent to trip him up. Since Kuai Tong is so clever with words, no one beside Sui He would be up to the task of tricking him, for Sui He has no match in court when it comes to wit and cunning.71 He should get there and if it turns out that Kuai Tong has truly gone mad, then that’s that, but if not, Sui He is to trick him and bring him back. I will know what to do with him. Guard, send for Sui He. Guard: Yes sir. Where is Master Sui He? The prime minister requests your presence. (Extra Male dressed as Sui He enters.) Sui He (recites:) I served as envoy in Jiujiang at the behest of our ruler, And in no time I made Ying Bu surrender. If you survey the Han court to seek a man of powerful words, There is only Sui He, the unmatched contender. This humble official is Sui He. Prime Minister Xiao came to request my presence—I wonder what it’s all about. I must make this trip. Here I am already. Guard, report that Sui He is at the gate. Guard: Reporting to the Prime Minister: Sui He has arrived. Xiao He: Please invite him in. Guard: Please enter. (Sui He and Xiao He greet each other.) Sui He: Why did you, Prime Minister, summon me today?

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Xiao He: Master Sui, I requested your presence for a particular reason. Now I sent someone to lure Han Xin here and he has already been executed. He had an adviser working with him, Kuai Tong. Han and Kuai had the deepest bond, so I must eradicate him also to have the job thoroughly done. Rumor has it that this person has gone mad. Not having got to the bottom of the matter, I must trouble you to go there and find out. If you manage to trick him into coming here, His Majesty would no doubt confer titles and rewards on you. Sui He: Prime Minister, you have given the command: I would not dare to shirk my duty. I will set out for Qi today. (Recites:) Divinely clever was the prime minister’s plot, Betrayal and execution became Han Xin’s lot. Xiao He (recites:) Kuai Tong may be full of wily schemes, But it’s time to see Sui He on stage with his themes. (Exit together.) Children (come on stage:) Let’s go and watch the antics of the madman. Kuai Tong (enters, dressed up as a madman:) Let me go and be the son­in­law: our family is waiting to get the feast ready. (Sings:) [Yue Tunes mode: Fighting Partridges] Every day I harmonize the elements, as if I were lighting a fire: Old Woman Meng is the matchmaker for hire, And Silkworm Goddess as go­between I will acquire. I must get that relentless mama to marry me. Don’t laugh at my grimy, blotchy face, Or the blemishes that my appearance debase. My wooden clogs have with stepping become powdery tatters,72 While my iron thin pants take on an unexpected inky hue. The tiles of garter I will twine tight, The porcelain head scarf will be wrapped around twice. [Prelude to Purple Flowers] I put on this sharkskin jacket, And tie this ivory sash. In my hand is this tasseled packet. My father­in­law is the Local Deity, My uncle, the King of Hell, My older sister, the Goddess in the Moon, My father, the Trail Blazer at Funerals, My mother, the wooden Puppet Companion. (The Children push Kuai Tong, and he falls. Kuai Tong sings:) These brats have made me fall on my butt in a sprawl. Children: Do you dare sue us? Kuai Tong (sings:) I will sue you to the High God of Primal Beginning.

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Children: Who is your witness? Kuai Tong (sings:) None other than the Buddha of Blazing Brightness. Children: Look, this is really a madman. Kuai Tong (sings:) [Little Red Peaches] You brats are stirring up such din and clamor on the street! May you all be crushed, may your destruction be complete! Chased through front alleys and back in a spinning vertigo, I am no long­suffering old lady taking every blow. Again and again I rub the dry bread next to my chest: For those who know me, I will be the guest. Friends and companions will sit together: None but sheepish comrades and my canine brother. (He chases the children offstage.) It’s getting late. Let me get back to the sheep pen. (He goes to the sheep pen and shows grief.) (Sings:) [Golden Plantain Leaf] A sorry end, as you tried to put out a fire draped in hemp, But I am not like those who follow the wind to whatever camp. When things come to a head, I opt for a speedy exit, Only now have I broken free from the cangue of fame and profit. Sui He: I have come here to look for Kuai Tong. I have been following him around for several days. Judging from his deportment and appearance, he has not gone mad. It’s getting late. I saw him heading for the sheep pen. Let me try to overhear what he is saying. Kuai Tong: The blue sky is pellucid like water. Such stars inside the River of Heaven, such stars outside! Moonbeams are shooting through—I cannot but compose a song. (Chants the song:) A human form is but an earthen clod, a wooden block—what is to be done? The message is there for the decipherer, but who is the one? Loyal words only stoke present woes, Feigning madness, I flee from perils all too close. Han Xin the marshal: what a mockery! A pillar of the state for naught: a heartbreaking travesty! When the game is gone, the hound is drawn. When the enemy state is laid waste, the general is erased.73 Look toward Xianyang: One stretch of the sky Shows clear cosmic signs of those who live or die. The Civil Stars shine high, The Martial Stars lowly lie—where and why?74

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Sui He: I have to unmask this man. (Greets Kuai Tong:) Kuai Tong, didn’t they say you’ve gone mad? Kuai Tong (sings:) [Ghosts on the Third Terrace] Deep into the night, I sit alone. Yet I am exposed: who could have known? Alas! The mantle of feigned madness is overthrown. Sui He: Kuai Tong, you are guilty of deceiving His Majesty. The emperor is summoning you to court. You should not have feigned madness. Kuai Tong (sings:) So what if death looms? Can I not let go of the scented halls and painted rooms? Give or take, right or wrong—let them decide, I will embrace death from the cauldron’s inside.75 As for you, you, you—revel in the uproar as justice you deride. Sui He: Following Prime Minister Xiao’s order, I am to bring you to court. Tomorrow we will set out together. Kuai Tong (sings:) [Song of Jest and Laughter] As for him—he, he, he is really going too far. Who can boast of peace that no storm will mar? As the saying goes, “Drop by drop, everything will return to the old jar.” Just think: Peng Yue, King of Daliang, crushed Chu—his merit was great, Ying Bu, King of Jiujiang, was in valor his mate. But our Marshal Han’s genius the Han dynasty did create. Who was it indeed who swept up chaos and offered a clean slate?76 [Bald Fellow] Why did I strip myself naked like an idiot? Why did I let my hair hang loose in a tangled riot? Self­mockery takes shape as songs, which I carelessly hum all day long Till night comes, when at the sheep pen the urge to survive is strong— The sheep pen where I would be gone. [King of Holy Medicine]77 With words of errant course You will seize me by force. The claim that I feigned madness you would endorse. But then it’s not because I let my words stray, Nor are my thoughts in disarray. It comes down to this: Who was it who built the foundations of this domain? How did it become a dream all too vain?

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[Coda] I think back on how he helped the ruler: expanding frontiers, conquering land; This is precisely how it should all end. The other day he suffered wrongful death at the Midnight Palace, And now Xiao He of Han is eyeing me with malice. (Exits.) Sui He: Kuai Tong has left. Who would have expected him to feign madness or that I should unmask him with just a modest display of wit? When the morrow comes, I would not dare to tarry. I will have to report discharge of my mission to the prime minister. (Recites:) Because of the deep bond that Han Xin and Kuai Tong shared, I was sent on a secret mission, for discernment well prepared. Deviant ones will for the burden of deviance suffer, Between the strong man and his stronger rival there is no buffer.

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(Xiao He and Fan Kuai lead the Guards and come on stage.) Xiao He: Ever since Sui He went to trick Kuai Tong, we’ve found out—who would have thought?—that Kuai was indeed feigning madness. We’ve heard that Sui He is returning with him. By the time he arrives, we will have prepared a cauldron to boil him alive, so that all future troubles will be forestalled. General Fan, who among the high ministers have still not arrived? Fan Kuai: Prime Minister, Cao Can, Lord of Pingyang, and Wang Ling, Lord of An­ guo, have not yet arrived.78 Xiao He: So those two are not here yet. Guard, request the presence of Cao Can and Wang Ling. Guard: Yes sir. (Extra Males dressed as Cao Can and Wang Ling come on stage.) Cao Can (recites:) The Liu house I support with devotion singular and sublime. The ruler, presiding in peacetime, is in his prime. Great were my achievements on the battlefield, Thus power over ten thousand households at Pingyang I wield. This humble official is Cao Can, a native of Pei county. Here is the general Wang Ling, Lord of Anguo. We grew up together in the same town, and later we served the Han emperor together, both receiving honors as lord and general. Prime Minister Xiao tricked Han Xin to come to court and had him executed. Now he is gathering officials for a meeting at his residence to discuss this matter. Guard, report that Cao Can and Wang Ling have arrived.

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Guard: Reporting to the Prime Minister: Cao Can and Wang Ling are at the gate. Xiao He: Send them in. (They greet each other.) Cao Can: Prime Minister, why did you summon us for a meeting? Xiao He: Honorable sirs, you may or may not know, but we already tricked Han Xin to come here and had him executed. But still there is Kuai Tong, an adviser under his command. Those two were of one mind; if we don’t get hold of him and also put him to death, it will surely spell future trouble. Now we have sent Sui He to bring him here. This is taking out the roots with the grass—planning for the country’s long­ term security. I am certainly not perversely persecuting the loyal and dutiful. Do you all agree? All: Prime Minister, your judgment is unerring. Xiao He: Guard, send for Sui He. Guard: Yes sir. Sui He (enters:) I went to look for Kuai Tong. Who would have thought that he was feigning madness? I already tricked him into coming. The prime minister is summon­ ing me. I will have to go. Guard, report that Sui He has come. Guard: Reporting to the Prime Minister: Sui He has arrived. Xiao He: Send him in. Guard: This way please. (Xiao He and Sui He greet each other.) Sui He: I have brought Kuai Tong here. Xiao He: Guard, drag that Kuai Tong forward. Guard: Yes sir. Kuai Tong: Now that I am here, my days are numbered! (Sings:) [Double Tunes mode: Song of New Water] I think of Zhang Liang of Han: he left court and chose reclusion, Marshal Han, long since betrayed, died in a trice by execution. Woe indeed for the heaven­supporting pillar of white jade! Such grief for the sea­spanning bridge from purple gold made!79 He expanded the empire, opening its frontier: Achievements are twisted into calumny, as his name they smear.80 (Speaks:) Guard, report that Kuai Tong is at the gate. Guard (reports:) Kuai Tong is at the gate. Xiao He: Send him in. Guard: You are summoned. (Kuai Tong greets the others and makes a show of jumping into the cauldron with boiling oil.) Xiao He: Stop! Stop! Stop! Kuai Tong, why are you rushing to jump into the cauldron without so much as a word? Are you so eager to die? Fan Kuai: You cannot ask him. If you do, he will surely give a persuasive speech. Kuai Tong: I know I am guilty. How dare I hope for reprieve? Xiao He: Didn’t you try to foment disaffection in Han Xin from the beginning? Kuai Tong: I did try to foment disaffection.

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Xiao He: Now we have the Han emperor on the throne. Instead of assisting him, you threw in your lot with Han Xin. Kuai Tong: Prime Minister, haven’t you heard? “Tyrant Jie’s hound barked at Sage­ King Yao not because Yao lacked goodness: a hound must bark at the one who is not his master.”81 Back then there was only room in my heart for Han Xin, not for any Han emperor. I received food and clothing from Han Xin, how can I not repay beneficence with beneficence? Xiao He: Once he had pacified the three Qi regions, Han Xin requested to control the area as proxy king. This obviously showed his intent to rebel. It stands to reason that he deserved beheading. Kuai Tong: Alas! Prime Minister, what are you talking about? How did the Han em­ peror come to rule over the entire realm? On whom did he rely? When it comes to grand strategy and major decisions, Zhang Liang could take the credit. As for impor­ tant battles and crucial lines of attack, it was mostly the work of Marshal Han. And now the retired one has retired, and the beheaded one was beheaded. Does it not stand to reason? (Sings:) [Stop the Horse to Listen] Zhang Liang by able governance brought stability to the domain, Helped the Han ruler define his reign, as the Chu overlord was slain. As for Han Xin, leading troops and generals, the enemy he did assail Until he finally made the true dragon prevail and the fake dragon fail. With death­defying feats, he lay blood­soaked on the battlefield, Thus earning the golden seal whereby power he could wield.82 And now you say “it stands to reason”: it’s reasoning free; Wouldn’t it be like the phoenix alighting on the parasol tree?83 Xiao He: From the beginning when our lord started the insurrection in Hanzhong, he was assisted by numerous officials and commanders. His success was not due to Han Xin’s effort alone. Kuai Tong: When Chu and Han struggled for supremacy, the Grand Moat was the boundary between the two. At that point had Marshal Han supported Chu, Chu would have won, and if he had thrown in his lot with Han, then Han would have won. The bal­ ance of power in the entire realm was in the hands of one person. That was why I repeat­ edly urged Marshal Han to spare King Xiang and to decide on a plan for the tripartite division of the country. But what could I do when, heedless of my loyal words, he was mercilessly cut down? The greatest hero of our time thus suffered an unjust death. The pity of it all! Prime Minister, even you once vouched for him. His success was your do­ ing; so was his demise. I cannot bear to enact this kind of about­face. Only by embracing death can I repay Marshal Han in the underworld. (He tries to jump into the cauldron.) Xiao He: Guards, block his way. Fan Kuai: You were the one who incited Han Xin to rebel. You are complicit as cocon­ spirator and should just acknowledge your guilt.

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Xiao He: General Fan, you are right. He served as Han Xin’s most trusted adviser. According to our legal code, if one person is guilty of treason, then nine sets of his relations are to be executed.84 How much more so when it comes to a coconspirator! For us to boil him alive in the cauldron today is not a miscarriage of justice. Kuai Tong: Prime Minister, when the Han king was in Nanzheng, he had countless crack troops and brave generals, but none of them was a match for King Xiang. Later he obtained Han Xin, built a thirty­foot altar, and bowed to him as marshal. Han pressed Xiang Yu to such desperation that he refused to cross the Black River and fell on his own sword. Once the realm was at peace, what use could you have had for Han Xin? Executing him and being done with it—what harm was there? Moreover, Han Xin was guilty of ten crimes. Did you, Prime Minister, know about them? Fan Kuai: You said Han Xin suffered wrongful death—how could he be guilty of ten crimes? Never mind ten, even one would suffice to leave him among the unburied dead. Xiao He: Kuai Tong, since Han Xin was guilty of ten crimes, why don’t you go over them in front of our officials? Kuai Tong: First crime: he should not have openly repaired the plank road while secretly passing through Chencang.85 Second: he should not have struck the three Qin kings and won control of Guanzhong.86 Third: he should not have crossed the Yellow River west­ ward and captured Bao, King of Wei.87 Fourth: he should not have crossed the Jingxing Pass, killing Chen Yu and Xie, King of Zhao.88 Fifth: he should not have caught Xia Yue and cut down Zhang Tong.89 Sixth: he should not have vanquished the Lixia army of Qi, driving Tian Heng away.90 Seventh: he should not have blocked up the upper reaches of the River Huai, putting to death the great generals Zhou Lan and Long Ju.91 Eighth: he should not have played a role in the Chu­Han confrontation at Guangwu Mountain.92 Ninth: he should not have set up the ambush on ten sides at Nine­Mile Mountain. Tenth: he should not have gone after Xiang Yu on the Yinling Road, forcing him to fall on his sword at the Black River. These then are Han Xin’s ten crimes. Xiao He (sighs:) These ten were Han Xin’s achievements; how did they become his crimes? Kuai Tong: Not only was Han Xin guilty of ten crimes, he also made three stupid mistakes. Xiao He: What three stupid mistakes? Kuai Tong: After Han Xin won control of Yan and Zhao and conquered the three Qi regions, he had four hundred thousand crack troops. Not to have rebelled then but to rebel now: that was his first stupid mistake.93 When the King of Han made his way out of Chenggao, Han Xin was at Xiuwu, exercising command over two hundred generals and eight hundred thousand crack troops.94 Not to have rebelled then but to rebel now: that was his second stupid mistake. For the great confrontation at Gaixia in front of the Nine­Mile Mountain, all of the million soldiers were under Han Xin’s command. Not to have rebelled then but to rebel now: that was his third stupid mis­ take. Han Xin bore the burden of ten crimes and three stupid mistakes; how could he not sow the seeds of his own downfall? Today Kuai Tong will be boiled alive.

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As the saying goes, “The fox sighs when the hare dies, the orchid turns when the fra­ grant herb burns.” Prime Minister, please think this over yourself. (Xiao He and the others show grief.) Fan Kuai: Even I begin to feel sad and melancholy. Kuai Tong (sings:) [Fake Cards] The various ministers are all affected and mournful; All officials, civil and martial, give themselves over to sorrow. Even for Xiao He, his brocade robe his tears do stain. But you’re dead: all mourning is in vain! [Hanging on a Jade Hook] Just think: Marshal Han died by trumped­up charges at the execution ground, His record of achievement a list of confessed crimes by inversion bound, Just like the wordless woman who bore the cane for spilling the bane.95 Over five years he cleared the land of chaos, but for nothing. He got to preside over the three Qi regions as king, But it was not long before he suffered fortune’s sling. Alas, who would have known that the prime minister’s hall Would become the marketplace with its beheading stall!96 Cao Can: Alas, Prime Minister. Han Xin did achieve all these great things. We should not have put him to death just like that. Xiao He: We know that Han Xin died an unjust death. But the dead cannot be brought back to life. At this point even if I wanted to save him, it would be too late. What can be done? Kuai Tong (laughs and sings:) [Wild Geese Alight]97 Laughable indeed! My eloquence may be impressive: Yet it’s no match for the prime minister’s scheme excessive. You want execution, and there’s execution by the blade. You want pardon, and your mercy you parade. [Victory Song] Truly, the sage ministers of Han are a fickle lot! Reasoning most cruel you perversely sought.98 Had we known that Marshal Han would be unjustly killed, Why shouldn’t we have kept the Chu overlord’s place filled? How was the glory you hankered after well meant? Instead of proudly presiding in the commander’s tent, You should have been with the fields content, You could have safely remained a farmer, suffering nary a dent! Xiao He: Since Han Xin is already dead, you, generals, should accompany me to court in the coming days. Together we will have an audience with the emperor and set forth the rights and wrongs of the matter. Han Xin’s grave will be marked with his restored titles, and Kuai Tong will be promoted and rewarded.

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Kuai Tong (sings:) [Buy Good Wine]99 Truly, when the hare is gone, the hound is drawn. When birds are no more, the bows are held in store. You vouched for him, but honor begot is all for naught. Back then an altar was built, and you bowed to him as marshal; Now the graveyard is readied for his funeral. [Song of Peace] Even if sacrifices will be offered every autumn and spring For his forlorn spirit in the underworld, they will scarcely salve the sting. It will be better to boil me in oil, bury me in flames, So that through life and death we can to each other cling. I have no fear. In calmness sheer, I will meet death with a smile and conscience clear. Alas! In this your “promotion and reward” can inhere. (Extra Male dressed as Palace Official enters bearing gold and the official regalia of cap and belt.) Palace Official: Your humble servant is a palace official. Xiao He hatched a secret plot to have Han Xin killed and is about to throw Kuai Tong into a cauldron of boil­ ing oil. His Majesty got wind of it and has sent me to pardon Kuai Tong. Here I am already. Guard, report that the imperial decree has arrived. Guard: Reporting to the Prime Minister: a palace official has arrived. Xiao He: Invite him in. (The Palace Official pays his respects.) Palace Official: All you generals kneel in the direction of the imperial palace. Pay heed to the His Majesty’s command. (The decree:) Sword in hand I started out in Feng and Pei. In scarcely five years I triumphed over all the other lords and kings, drove Xiang Yu to death, and took control over the entire realm. This was not the fruit of my striving alone—it was all due to Han Xin’s effort. Misguided by the words of others, I branded him guilty of treason. Thus in the Chamber of Bells in the Mid­ night Palace, the blood of injustice remains. I am indeed filled with pity and hereby return his office and titles, issuing the command that officials in charge should build his tomb and offer sacrifices. From the beginning Kuai Tong served others with his words, being active at the same time as Wu She.100 His heart is in the right place with his master; of what crime is “the hound barking at Yao” guilty? Gladly he marched to­ ward the boiling cauldron, embracing death as sweet fare. He is indeed a brave man. We can spare him death, appoint him administrator of the capital, and bestow on him a thousand taels of gold. Alas, in life Han Xin achieved great merit, and we seek to repay him even after his death. Had Kuai Tong’s words been followed, there would not have been a crime left behind.101 Thus is the justice of rewards and punishments in our domain demonstrated. My command is not to be altered. As decreed. (Kuai Tong and the others bow in gratitude to the imperial beneficence.)

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Kuai Tong (sings:) [Mandarin Ducks Coda] Had the Han emperor early on issued his clear command, Marshal Han wouldn’t have faced a slanderous bind. Then the vow of reciprocity for all time Would not have ended up as a crime.102 Why would I resort to the pretense of insanity? Or any tricks of vanity? (Returns the cap and belt while singing.) This cap and belt add no glory to my value. (Returns the gold as he continues to sing.) This gold cannot be cast as his golden statue. I only want you, Prime Minister Xiao, to carefully ponder How your unjust murder will be the subject of the people’s clamor. Xiao He: Kuai Tong, these gifts of cap, belt, and gold are what His Majesty bestowed on you. How can you return them to me? Isn’t that what we call “defying imperial command”? (Recites:) Marshal Han, with great achievements and battles hard won, Smote Western Chu and established the Han dynasty. As king of the three Qi regions, he was given the seal, With white lance and yellow banner, he could claim sole authority. Prime Minister Xiao served his lord with utmost loyalty, And secretly devised a plan to forestall future calamity. Using the imperial excursion as excuse, Han was summoned as regent And was mercilessly cut down at the execution ground. Now the miscarriage of justice has been fully made clear, And Han ministers regret the errant course they did steer. Even the Sage­Emperor is moved to his core: Pity the bows in store, as birds are no more. Just think: back then we built an altar and bowed to him as marshal; How can we bear that, after death, he’s forgotten as model? On his tomb, restored titles and honors one inserts, Seasonal sacrifices will be performed at the eastern outskirts. Even Kuai Tong will have promotion and rewards; In a word: all will come by their just deserts. It is obvious that imperial beneficence is unerring: Together we look up to a heavenly sun concurring.

Topic: Xiao He Brings Down Han Xin of Great Merit Title: Sui He Tricks the Mad Kuai Tong

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n ot es 1. See Hanshu 45.2159. The names of the ruler or of one’s parents become “taboo characters” that have to be avoided (hui 諱). 2. Ming manuscripts in the Maiwang Studio Collection (Guben xiqu congkan, 4th ser., no. 39, no. 134). 3. Ming manuscript, ibid., no. 137. 4. Xu Qinjun, Xin jiao Yuan kan zaju sanshi zhong, 676–705. 5. Zang Maoxun, YQX, 6:3222–68; Xu Qinjun, Xin jiao Yuan kan zaju sanshi zhong, 288–307. 6. “Palace manuscript” in the Maiwang Studio Collection (Guben xiqu congkan, 4th ser., no. 136). 7. Zang Maoxun, YQX, 1:343–79. 8. Qin ordered the burning of historical records of all states other than Qin and also banned private hold­ ings of the classics and the masters’ texts (teachings of the various schools) to forestall “using the past to criticize the present” (Shiji 6.255). 9. Xiao He was a clerical officer (daobi li 刀筆吏) under the Qin before he joined Liu Bang’s insurrection in 209 b.c.e. When the Qin capital Xianyang fell, Xiao He collected Qin records that later facilitated the Qin­Han administrative transition (Shiji 53.2014). Mastery of the daobi, which means literally “carving knife,” the instrument of writing on bamboo strips, also comes to mean expertise in legal mat­ ters. Liu Bang is said to have simplified and ameliorated Qin laws by setting forth “three basic articles of the legal code” (yuefa sanzhang 約法三章) when he gained control of Guanzhong. However, Xiao He is not mentioned in connection with that event specifically, although he is known for his legal expertise (Shiji 8.362, 53.2014–15). Instead, Han Xin is supposed to have given Liu Bang the idea (Shiji 92.2612). After the founding of Han, Xiao He became Lord of Zan, and he played a crucial part in helping Liu Bang consolidate Han rule. 10. That is, the Feng settlement in Pei prefecture. Xiao He hailed from the same hometown as Liu Bang and shielded Liu from troubles in his capacity as officer and clerk. 11. Ying Bu (Qing Bu) first supported Xiang Yu, became King of Jiujiang, and then switched allegiance to Liu Bang. He was made King of Huainan after Han unification. Driven to rebellion in 196 b.c.e., he was killed the same year. 12. Peng Yue’s support was crucial to Liu Bang’s success, but he was accused of treason and killed in 196 b.c.e. (Shiji 90.2591–95). 13. Since Xiao He recommends Han Xin but later plots his downfall, he may be regarded as inconsistent and arbitrary, hence the saying “It is Xiao He who makes him, it is Xiao He who breaks him” (Cheng ye Xiao He bai ye Xiao He 成也蕭何，敗也蕭何). Hong Mai (1123–1202) cites this as a popular saying in his time (Rongzhai suibi 8.312–13). 14. Fan Kuai was a dog butcher who rose to prominence as a military commander during the Qin­Han transition. He remained unscathed through early Han purges of regional powers in part because he was married to Empress Lü’s sister (Shiji 95.2651–60). 15. The Hongmen feast was a turning point in the Chu­Han struggle. In Sima Qian’s vivid account (Shiji 7.312–13), Xiang Yu’s adviser Fan Zeng signals to Xiang Yu to have Liu Bang killed during the feast, but Xiang Yu ignores him. Fan Zeng sends Xiang Zhuang to cut down Liu Bang in the midst of a sword dance, but he is foiled. Fan Kuai then bursts in to defend Liu Bang. As appreciation for his valor, Xiang Yu bestows on him wine and a pork shoulder. Sima Qian also depicts the same episode from different perspectives; see Shiji 8.364, 55.2038, 95.2654. Chata 蹅踏, rendered here as “bursting upon the scene,” means both “to tread over” and “to put down.” 16. The play is set, of course, at a time before chairs were used in China. 17. Palace manuscript: “I was drawing bodhi trees in my house for fun.”

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18. As noted, Fan Kuai married the sister of Liu Bang’s wife. 19. Sima Qian tells the anecdote of how the starving Han Xin is fed by a washerwoman, whom Han rewards handsomely after he becomes a famous general (Shiji 92.2609, 92.2626). 20. This early episode in Han Xin’s life (Shiji 92.2609–10) is often adduced as evidence of his self­discipline and ability to bide his time so that he could eventually achieve great things. 21. Zhang Liang was Liu Bang’s major strategist and became Lord of Liu after Han unification (Shiji 55). Sima Qian implies that Zhang Liang might have had a role in the downfall of Han Xin, but in this play Zhang is Han’s defender. 22. Zhang Liang’s father and grandfather served five Hán kings (Shiji 55.2033). (We have added the tone mark to avoid confusion of Hán the Warring States kingdom with the Han dynasty.) Sima Qian implies that revenge motivated Zhang Liang’s attempt to assassinate the Qin emperor at Bolangsha (Shiji 55.2034). Here the playwright turns vengeance into Zhang Liang’s motive for supporting Liu Bang against Xiang Yu. 23. In order to tighten rule over the country, the First Emperor burned the historical records of other states as well as the writings of the various masters. Four hundred and sixty scholars (or, according to some scholars, ritual specialists) were buried alive (Shiji 6.258). 24. Literally, “Together they pursued the Qin deer.” Kuai Tong describes the struggle for supremacy during the Qin­Han transition: “Qin lost its deer: all under heaven pursued that deer and those with great tal­ ent and swift of feet will get there first” (Shiji 92.2629). 25. There is no mention of Zhang Liang’s holding the position of chancellor (situ 司徒) in Shiji. 26. Chenliu (near Kaifeng in present­day Henan) was made a prefecture under the Qin. The playwright seems to have confused Zhang Liang’s fief in Liu (in Pei county in present­day Jiangsu) with Chenliu. Xiapi was where Zhang Liang hid as a fugitive after his unsuccessful assassination attempt. The pal­ ace manuscript has two extra lines here: “Back then the emperor bowed to the grand marshal, / And appointed Han Xin as commander of troops that surged forth.” 27. At the beginning of the chapter devoted to Zhang Liang in Shiji, Sima Qian describes Zhang’s encoun­ ter with an old man who gives him the Grand Duke’s Treatise on the Art of War (Taigong bingfa 太 公兵法) after a series of tests that confirm Zhang’s humility and patience. The old man tells Zhang Liang to study the book and to meet him thirteen years later at the foot of Mount Gucheng. At the appointed time and place, Zhang sees a yellow stone (Shiji 55.2034–35, 2048). There is a structural par­ allel between Zhang Liang’s encounter with the old man and Han Xin’s submission to bullying youths in their respective chapters in Shiji. In both cases, humility and self­discipline bode future greatness. 28. Lü Wang, also called Grand Duke Wang, or Jiang Ziya, was the adviser of King Wu of Zhou. He is credited with a key role in the Zhou conquest of Shang (eleventh century b.c.e.). 29. In the final battle between Chu and Han, Xiang Yu is said to realize his irreversible defeat when he hears besieging Han soldiers singing the songs of Chu (Shiji 7.333). 30. Palace manuscript (lines 9–12): “I sent Peng Yue to expeditions north and south, / And had Ying Bu lead campaigns east and west. / At Gaixia all eight thousand followers had dispersed: / There was not a single soldier before him.” 31. Xiang Yu is said to have double pupils (chongchong 重瞳) (Shiji 7.338). Sima Qian cites this as possible “evidence” that Xiang Yu might have been descended from the sage­king Shun, also said to have had double pupils. 32. Xiang Yu feels that his losses are such that he cannot face his erstwhile supporters “east of the River”; he thus falls on his sword at Black River (Wujiang) (Shiji 7.336). Palace manuscript: “Lord Pei of Liu ascended the imperial throne, / The double­pupiled one of Chu was ashamed to come east. / In the capital, a ruler was set up to gain sway over the realm. / That Xiang Yu fell on his sword by the Black River was heaven­ordained fate.”

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33. Palace manuscript (lines 3–5): “Who was willing to establish the foundation of rule, help with the altars of the state, and uphold imperial dignity? / If back then he did not give his wholehearted support— / Prime Minister, when you have a moment, you should count with your fingers and think how it hap­ pened from the beginning.” 34. For the term bai’er shanhe, “by mountains and rivers fortified,” see chap. 1, this volume, n. 50. 35. “Pervert justice” is literally “raise the dishonest and push aside the honest.” See Lunyu zhushu 2.19: “Raise the honest and push aside the dishonest, and the people will submit. Raise the dishonest and push aside the honest, and the people will not submit.” (Translations in the notes in this volume of lines or passages from other texts are original translations unless otherwise indicated.) 36. During the Qin­Han transition, Xiang Yu enfeoffed three lords, supposed descendants of the kingdom of Qi, in the Shandong area (Shiji 7.316–17). The “three Qi regions” refer to the area formerly under the control of these three lords. 37. Tuilun tuigu 推輪推轂 means, literally, “push the wheel and push the axis.” The term implies humility and is used to indicate support or elevation of another person (Shiji 51.1995, 102.2758, 107.2843). 38. After Han Xin pacified Qi, he asked to be made proxy king (jiawang 假王) of Qi. Greatly angered, Liu Bang was about to reject the request when Zhang Liang and Chen Ping stealthily stepped on his foot. Realizing the imprudence of any confrontation, Liu Bang changed his tune and offered instead to make Han Xin the real king of Qi (Shiji 92.2621). 39. Palace manuscript (lines 5–6): “Now we should rejoice in peace, / (Fan Kuai: Chancellor, Han Xin is one who crawled between the legs of another.) / You say that he was a petty thief of melons and grains.” 40. In 207 b.c.e., Han Xin defeated Chen Yu, one of the regional powers during the Qin­Han transition, in a famous battle with Han troops backing up against a river—a battle formation that strategists were taught to avoid. Han Xin achieved victory by having Han troops infiltrate Chen’s camp earlier (Shiji 92.2615–17). 41. In 207 b.c.e., Han Xin attacked Dai and captured the Dai minister Xia Yue (Shiji 92.2613–14). Instead of Chen Yu and Xia Yue, the palace manuscript has Xia Yue and Zhang Tong. 42. In 203 b.c.e., the Chu general Long Ju confronted Han Xin at the River Wei. (Note that in the play the site of battle is misidentified as the River Huai.) Han achieved victory by first blocking the river upstream and then removing the sandbags as Long Ju’s army was crossing the river (Shiji 92.2620–21). 43. In 207 b.c.e., Han Xin defeated Wei Bao (King of Wei) by pretending to marshal his forces to cross the river at Linjin while stealthily ferrying Han troops on floats upstream (Shiji 92.2613–14). In the same year Han Xin, following Kuai Tong’s advice, conquered Qi even though Han had just declared a truce with Qi (Shiji 92.2620). Palace manuscript (line 8): “And he also overthrew Xiang Yu.” 44. After Xiang Yu killed himself, Han soldiers vied to claim his body or at least body parts, and five Han officers were made lords “because when the five put together the head and limbs, they all belonged to him.” Sima Qian describes the scene with obvious disdain for these five officers (Shiji 7.336). 45. The “Nine­Mile Mountain” (in modern­day Xuzhou, Jiangsu) is not mentioned in Shiji. However, fiction and drama on the Chu­Han struggle often name this as the site of an important battle. It is mentioned, for example, in Xiao He Pursues Han Xin in the Moonlit Night. There is another Yuan play titled Ambush on Ten Sides at Nine-Mile Mountain (Jiuli shan shimian maifu 九里山十面埋伏). It is no longer extant, but one act is preserved in Guo Xun’s 郭勛 Yong Xi yuefu 雍熙樂府 (first printed in 1561). We have rendered li 里 as “mile,” although one li is only about a third of a mile. 46. The “Eight Trigram” formation has been associated with Zhuge Liang 諸葛亮 (181–234) and becomes a byword for masterful battle formation in fiction and drama. Here it is anachronistically associated with Han Xin. 47. Palace manuscript (line 6): “Clearly, at the apparent gap of the battle formation, troops in ambush attacked.”

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48. According to Sima Qian, Zhang Liang declares his indifference to worldly success and wants to pursue Daoist self­cultivation with Master Red Pine (Chisongzi 赤松子) (Shiji 55.2048). The Shiji account also implies that Zhang Liang’s Daoist elusiveness is instrumental to his self­preservation and success. Master Red Pine becomes a god of rain in later Daoist lore (Liexian zhuan jiaojian, 1–4). 49. Palace manuscript (lines 1–2): “I want to brush off dusty remains / And worldly commotion.” 50. “Bells and tripods,” short for “bells ringing for food served in tripods” (zhongming dingshi 鐘鳴鼎食), are the paraphernalia of an aristocratic existence. 51. Palace manuscript (lines 4–8): “Taking leave of the Jade Hall and golden horse, / I am content to live in a thatched hut. / For cultivation of the Way my model is Fan Li. / I look back and the fate of Qu Yuan deplore. / I will go to the mountains to seek the Hoary Four.” 52. Zhang Liang secures the assistance of the four aged recluses (the Hoary Four) to convince Liu Bang that he should keep Liu Ying (the future Emperor Hui) his heir. Liu Bang had been tempted to name the son of his favorite consort, Lady Qi, as heir, but the apparent support of the Hoary Four for Liu Ying deters him (Shiji 55.2044–45). While the four old men function as a political ploy that aligns Zhang Liang with Empress Lü (Liu Ying’s mother) in Shiji, here they become a symbol of reclusion. 53. The original uses Qu Yuan’s (ca. fourth to third centuries b.c.e.) official title, “Three Gates Minister,” which syntactically parallels “Four Hoary Ones.” Longing for escape, Zhang Liang is reminded of the lamentable fate of Qu Yuan, who ends up throwing himself into the Miluo River when his remon­ strance is not heeded by the Chu king (Shiji 84.2490). 54. The last aria of act 1 in the palace manuscript (“Coda”): “Better to have a rich life savoring pine seeds; / a poor life gathering ferns points to a path of survival. / Then my lifelong wish will be fulfilled. / Free from care, free from want, wherever I go or stay. / Even if I can’t help the fifth watch chill stinging me every night, / Think again: I will brush my sleeves in a mountain abode, / With tea, herbs, zither, chess, brush, and books all in place. / Just because Marshal Han will fall, / I must turn withdrawal into my dictum, / And let the myriad spirits support the emperor’s peacetime system.” 55. Xunzi jishi 25.579, “Chengxian” 成相: “The carriage ahead is already overturned, but one does not know when the carriage behind will take heed.” Yanzi chunqiu jishi 6.405: “The carriage in front is overturned, the carriage behind is warned.” 56. According to Sima Qian, it is the minister Chen Ping who devises this ruse (Shiji 56.2056–57). 57. These are later listed in Fan Kuai’s speech in act 4. 58. The Chinese term, bianshi 辨士, means, literally, “rhetorician,” “persuader,” or “one adept with words.” 59. Palace manuscript (line 2): “He gave you the real seal to forestall losing.” 60. Literally, “hands folded in front, with clothes draping down” (gongshou chuiyi 拱手垂衣). This implies a style of government that is noninterventionist yet effective. 61. Palace manuscript (line 8): “Back then he already diminished your power over the troops, for suspicions had arisen.” 62. Palace manuscript: “To what end did you smote powerful Qin in five years, / And destroyed the over­ lord in three? / . . . / To think that you wiped out Chu and raised Liu to power, / Exerting utmost effort and loyalty— / What is your scheme for extricating yourself ?” 63. Literally, “he took off his robe to put it on me and pushed his food toward me to feed me.” These are Han Xin’s words in Shiji (92.2622) when he refuses to follow the advice of Wu She (Xiang Yu’s agent) to divide the realm into three. 64. Lunyu zhushu 7.38: “The Master is gentle, yet firm, imposing, yet not overbearing.” Lüshi chunqiu jiaoshi 16.1003: “Exalted, yet not toppling, so that one can keep lasting distinction; filled to the brim, yet not overflowing, so that one can keep lasting wealth.” 65. Literally, “you will die (an unnatural death) and will not be properly buried.”

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66. Fan Li served King Goujian of Yue and had a crucial role in the Wu­Yue struggle in the sixth century b.c.e. After Wu’s defeat, Fan Li withdrew from service and became a recluse at the Five Lakes (Shiji 41.1740–55). Another chapter in Shiji chronicles Fan’s adventures as a rich merchant (Shiji 129.3255–58). 67. Palace manuscript (lines 1–5): “One was a benevolent man who delighted in mountains, / One was a wise man who delighted in waters. / The two of them left office and became free, / Abandoned their posi­ tions and left, / Brushed their sleeves and went home.” The first two lines allude to Lunyu zhushu 3.23. 68. Liu Bang disliked Yong Chi but, in order to demonstrate his impartiality and to calm the fears of his supporters, nevertheless made him a lord at Zhang Liang’s suggestion (Shiji 8.351, 55.2042–43). Ding Gu (Lord Ding) was a Chu general who defected to Han and contributed to Han success, but Liu Bang had him executed for disloyalty to Chu (Shiji 100.2733). Rewards and punishments thus depend on Han interests and Liu Bang’s reasoning rather than justice. Kuai Tong may also be implying a hidden analogy between Ding Gu and Han Xin, who also started out as Xiang Yu’s follower. 69. Literally, “Extreme good fortune will often breed its reversal.” The hexagram “Good Fortune” (Tai 泰) (no. 11) comes right before the hexagram “Reversal” (Pi 否) (no. 12) in the Classic of Changes (Yijing 易經). 70. Palace manuscript, “Coda” (lines 1–2): “He wouldn’t come, / He wouldn’t come.” 71. Sui He is famous for his rhetoric; he convinced Ying Bu, King of Jiujiang, to switch his allegiance from Chu to Han (Shiji 8.371–72, 91.2599–2602). 72. Anthology has the unusual expression fenlan 粉濫 (powder in excess). The palace manuscript shows the correction fenlan 粉爛 (tattered as powder). 73. After the Yue victory over Wu, Fan Li writes to his fellow official Wen Zhong, urging him to withdraw from politics: “When the soaring birds are no more, the good bow will be put away; when the cunning hares are dead, the running hound will be boiled” (Shiji 41.1746–47). Fan Kuai cites this saying (Shiji 92.2625), and Han Xin repeats these words when he is charged with treason (Shiji 92.2627). 74. Palace manuscript (lines 9–13): “A light shines on Xianyang: / Watch the Big Crab [an asterism]. / Cosmic signs in the sky show unmistakable defeat. / The Civil Stars shine brightly still, / the Martial Stars should be clearly visible—but where are they now?” 75. Kuai Tong is referring to the punishment of being “boiled alive” in a cauldron. 76. Palace manuscript (line 7): “Truly, it is the brush that makes final judgments for mountains and rivers.” The implication is that although the three aforementioned generals established the Han dynasty, it is arbitrary decisions from the emperor and the civil officials that determine the balance of power. 77. Palace manuscript, “King of Holy Medicine”: “You can use your errant words, / But what do I hope to get? / This is why I feign madness. / It’s not because I let my words stray: / You betrayed him. / He built the world of Liu dynasty and the realm of Han. / Mine is not the Basin Song of Zhuangzi.” Zhuangzi is said to drum a basin and sing when his wife dies in a gesture that shows his transcendence of human joys and sorrows. While Zhuangzi’s song and Kuai Tong’s behavior may seem equally irrational, Kuai Tong is saying that his “mad song,” unlike that of Zhuangzi, springs from genuine grief and outrage. 78. Cao Can started out as a prison guard in Pei county and was an early supporter of Liu Bang’s. He served as prime minister after Xiao He (Shiji 54). Wang Ling, also a Pei native, became “prime minister of the right” after Cao Can (Shiji 56.2059–60). 79. This is a common idiom in drama referring to important ministers or generals. “Purple gold” is a rare mineral whose exact nature is not known. According to the Ming scholar Cao Zhao (late fourteenth century), his contemporaries used the term to refer to a metal made from smelting gold and bronze (Gegu yaolun 2.17b). 80. Palace manuscript (lines 5–6): “Why speak about expanding the empire or opening frontiers? / They are totally unafraid of the people’s vocal outrage.” 81. In the locus classicus of this saying from Zhanguo ce (13.462), it is the hound of Bandit Zhi that barks at a sage­king. Kuai Tong uses the same analogy in Shiji 92.2629.

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82. Palace manuscript (lines 5–6): “With death­defying feats, he lay blood­soaked by the wayside, / And the minister’s black canopy flew over his head.” 83. A saying often quoted in Yuan drama: “The phoenix alights on the parasol tree; / There will be those who with right and wrong make free” (Fenghuang fei zai wutong shang zi you pangren shuo duanchang 鳳凰飛在梧桐上，自有旁人説短長). The implication is that this is an action inviting disparage­ ment and rumors. 84. See chap. 1, this volume, n. 23. According to Qin and Han law, treason was punished by having “three sets of relations” (sanzu 三族) killed. Implicating “the nine sets of relations” is a later idea. 85. Zhang Liang advised Liu Bang to burn the plank road leading from Guanzhong to Ba Shu (Shiji 55.2039) to convince Xiang Yu that he had no ambition to march east. Some later literary traditions (e.g., Yuan plays such as Secretly Passing Through Chencang [Andu Chencang 暗渡陳倉] and Provoking Ying Bu [Qi Ying Bu 氣英布]) maintain that Han Xin later diverts Xiang Yu’s attention by repairing the plank road while attacking Chu from another route via Chencang. 86. Zhang Han, Sima Xin, and Dong Yi were Qin generals who defected to Chu. Xiang Yu made them kings of Qin. On Han Xin’s plan to defeat the three Qin kings, see Shiji 92.2612. 87. Ibid., 2613. 88. Ibid., 2615–16. 89. Ibid., 2614. 90. Ibid., 2620. 91. Ibid., 2620–21. 92. According to Shiji 56.2054, Han Xin’s troops were stationed at Guangwu, but it is not clear what role he had in “managing the confrontation” between Han and Chu (Shiji 7.327–28, 8.376–77). 93. According to Shiji, that is the juncture when Kuai tried to persuade Han Xin to rebel (Shiji 92.2623–26). 94. In 203 b.c.e., when Xiang Yu besieged Liu Bang first at Yingyang and then at Chenggao, Liu fled to Xiuwu, took control of Han Xin’s troops at Xiuwu, and sent Han Xin to attack Qi (Shiji 92.2619). 95. The story is cited in the speeches of Su Qin, a famous Warring States rhetorician (Shiji 69.2264–65). In the story a concubine dares not speak up because she is caught between loyalty to her master and to her mistress. She deliberately spills the poisoned wine that her mistress is using to poison her husband and suffers punishment as a result. 96. The original has “Yunyang execution ground.” Yunyang is typically used in fiction and drama to refer to an execution ground. See this volume, chap. 1, n. 20. 97. Palace manuscript: “When Xiao He speaks, the flowing words are fitting; / Whatever he does, he takes proper measure. / Those who should be executed he will execute, / For those who are wronged, he will turn things around.” The aria in Anthology has a more ironic ring. 98. Palace manuscript (line 2): “I see he bows his head in vain as he secretly ponders.” 99. This and the next two arias are not in the palace manuscript. 100. Xiang Yu sent Wu She to try to convince Han Xin to rebel and augur the tripartite division of the realm, offering a vision very much like Kuai’s (Shiji 92.2622). 101. The syntax here is ambiguous: this implies that had Han Xin followed Kuai Tong’s advice, his wrong­ ful death (i.e., “a crime”) could have been avoided. Note that both here and in chap. 1, the ruler does not appear on stage. This arrangement might have reflected changes introduced by Ming editors, since impersonations of the emperor were prohibited in the Ming dynasty, although the interdiction was not consistently enforced. See Tian­Yuan Tan, “Prohibition of Jiatou Zaju.” 102. The original, “river [reduced to being] like a belt, mountain [eroded to being] like a polishing stone,” alludes to the vow that Liu Bang made when he rewarded “meritorious officials”: “This will last till the river is like a belt, and the mountain like a polishing stone. Your domain will be at peace forever, reach­ ing all the way to your descendants” (Shiji 18.877).

Crime and Punishment

3 s e L L i n g r i Ce i n Chenzhou

anonymous Trans laTed by ri cha r d c. hessn ey

introduCtion Wai - y e e L i

F

rom Sima Qian’s “Accounts of Harsh Officials” (Kuli liezhuan 酷吏列傳) (Shiji 62) to Liu E’s 劉鶚 (1857–1909) Travels of Lao Can (Lao Can youji 老殘遊記), there is a strain in the Chinese tradition that regards “incorruptible officials” (qingguan 清官) with some suspicion. The conviction of one’s own “purity” can lead to self-righteous misjudgments and vindictiveness. This remains, however, the less-insistent voice. Much more prevalent is the belief that an official who cannot be bribed or intimidated is also unerring and dauntless in his judgment. Such figures provide the hope for redress of grievances for the powerless, and it is ultimately easier to imagine these powerful men correcting the lapses of the system rather than fundamental sociopolitical changes that will transform the system. Judge Bao is the quintessential incorruptible official in Chinese literature. On the stage of modern Beijing opera, this image of incorruptibility is represented by Judge Bao’s black face paint and a white new moon on his forehead. The historical Bao Zheng 包拯 (999–1062) was a Song official famous for his probity and filial piety. Bao hailed from Luzhou (present-day Hefei in Anhui province) and attained the jinshi degree in 1027. He left office to take care of his aging parents, adhered strictly to rituals of mourning upon their deaths, and did not resume office until 1037. The broad parameters of his political thought, from the proper employment of talent to low taxation and national defense, can be culled from his memorials.1 Among his various posts

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was that of censor, and he offended Emperor Renzong (r. 1023–1063) by criticizing Zhang Yaozuo, an imperial relative by marriage. Such fearless defiance contributes to the lore of Bao as defender of those victimized by the rich, the powerful, and the well connected. He is also said to have “opened the gate and allowed the plaintiffs to go directly to the courtyard.”2 Although the historical Bao Zheng held different posts, and in various works he is often called (as in this play) Rescriptor-in-Waiting Bao (Bao Daizhi 包待制)3 or Lord Bao (Bao Gong 包公), we follow convention and refer to him as Judge Bao. Widely worshipped as a deity in popular religion, he is invariably presented as sagacious and incorruptible in literature, but perspectives also diverge in the numerous plays, ballad stories (cihua 詞話), and novels (xiaoshuo 小說) spanning seven or eight centuries in which he appears—not to mention modern movies and television drama. While some works focus on his crime-solving skills, others bring him in only at the end of an involved plot as the deus ex machina. Often shown as one with “iron mien embodying uncompromising justice” (tiemian wusi 鐵面無私), in some works he delights in disguise and double entendre like a trickster. Sometimes presented as a paragon of ratiocination, he is also endowed with preternatural powers. Ghosts and spirits of the wronged dead appeal to him for redress of grievance, and he sometimes quells demons that turn out to be the true criminals. In many accounts he is said to preside as Yama judging the dead in the underworld at night while dispensing justice in the human world by day. Judge Bao may seem to embody “the rule of law” in the sense that none is above the law—indeed the pleasure of “Judge Bao literature” often lies in the downfall of the powerful—yet not infrequently he has to redefine the law in the name of justice. Judge Bao Solves the Case of Selling Rice in Chenzhou (Bao daizhi Chenzhou tiaomi 包待制陳州糶米), or, shortened, Selling Rice in Chenzhou (Chenzhou tiaomi 陳州糶 米), is one of eleven extant Yuan plays dealing with the exploits of Judge Bao. Of these eleven, ten are found in Anthology and one in the Yuan Editions.4 The story of Judge Bao’s punishment of the abusive and corrupt granary commissioners sent to Chenzhou to relieve famine also appears in a ballad story printed in the late fifteenth century5 and in chapter 73 of The Hundred Judge Bao Cases (Quan bu Bao Longtu pan baijia gong’an 全補包龍圖判百家公案) compiled by An Yushi 安遇時 (1594).6 These two versions are similar, and both differ from our play in casting the villains as “imperial relatives” (huangqin 皇親). Wilt Idema observes that although this play presents the criminal as “a local and individual nuisance,” the ballad story locates the source of the crime in imperial oversight.7 The latter also depicts Judge Bao punishing an imperial consort for infraction of ritual propriety, thus emphasizing the reach of his judgment and the emperor’s failure in “managing his family” (qijia 齊家).8 Enemies in high places require extraordinary measures, and a good portion of the ballad story is devoted to how Judge Bao tricks the emperor into endowing him with special powers and privileges. Once in Chenzhou, he disguises himself as a student to better investigate the case. Our Yuan play shares similar motifs of disguise and trickery. Judge Bao dressed up as an old country bumpkin who

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becomes the servant of a prostitute provides comic relief and also underlines his empathy with the plight of the oppressed. The fact that the male lead plays both Judge Bao and Zhang Piegu, the protesting commoner murdered by the rapacious granary commissioners, implies a vision of justice that is based on the empowerment of the victim. This is also compensatory justice that goes beyond due process—Judge Bao allows Zhang Piegu’s son to personally kill the commissioner and receive a convenient pardon. The post of the villain, Master Liu, is yanei 衙內, which can mean anything from a palace guard to an official of unspecified rank. The play does not explain why Master Liu, a mere yanei, should be conferring on state affairs with the highest ministers. It implies that Fan Zhongyan 范 仲淹 (989–1052), a major literary and political figure in Song history, regards him with special favoritism without following this thread through consistently. Perhaps revisions that set out to tame or localize the source of scourge in the realm result in villains who are both connected and not quite connected with the highest powers in the realm. Judge Bao’s professed disaffection with political engagement before he sets out on his mission may be part of this division. Aside from numerous Chinese studies of Judge Bao plays and stories,9 there are also important English translations, including Hayden’s Crime and Punishment in Medieval China, Blader’s Tales of Magistrate Bao and His Valiant Lieutenants, and Idema’s Judge Bao and the Rule of Law. Selling Rice in Chenzhou is not mentioned in Yuan and early-Ming bibliographies of drama. The only extant version is the one preserved in Anthology, on which this translation is based.10 George Hayden provides a translation of this play in Crime and Punishment in Medieval China.

seLLing riCe in Chenzhou D r a m at i s P e r s o n a e

Role type Opening Male Extra Extra Comic Comic Clown Male Lead Young Piegu Male Lead

Name, social role Fan Zhongyan, a minister Han Qi, the Duke of Wei Lü Yijian, a minister Master Liu, an evil official Liu Dezhong, Master Liu’s son, the Young Master Yang Jinwu, Master Liu’s son-in-law Zhang Piegu, old man of Chenzhou, nicknamed “The Cantankerous” Zhang Ren, son of Zhang Piegu Bao Zheng, magistrate of Kaifeng

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Supporting Female Comic Clowns Zhang Qian Guards Attendants Peasants Clerk

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Wang Fenlian, a prostitute Liao Hua, magistrate Granary Hands Aide to Judge Bao

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(Opening Male dressed as Minister Fan enters leading his attendants.) Minister Fan (recites:) I have read myriad books, mastered the Nine Classics, And enjoyed distinction at the Phoenix Pond.11 I have presented grand plans for prosperity at court And have secured examination honors of the highest sort. My name is Fan Zhongyan,12 and my style name is Xiwen. My ancestors came from Fenzhou in Shanxi province. Having been schooled in the Confucian tradition since my youth, I am well versed in the classics and histories. I passed the jinshi examination on my first attempt and have served at court for the past few decades as a grateful recipient of imperial favor, occupying the post of president of the Board of Revenue in addition to being a member of the Imperial Academy.13 Today a report came from officials at Chenzhou describing a severe drought that has lasted three years. All the crops have failed, and the suffering multitudes have almost been reduced to cannibalism. I submitted a memorial at court concerning this matter. The emperor has ordered me to convene the Grand Council of nobles and ministers for discussion and has also commanded that two honest officials be dispatched to Chenzhou to open the granary and sell rice at the price of five taels of silver per picul. I have already sent messengers to invite the ministers of state to come. Guard, keep watch outside the gate to see which minister has arrived, then come and report to me. Attendant: Yes sir. (Extra dressed as Han Qi enters.) Duke Han: My name is Han Qi, and my style name is Zhigui.14 I am from Xiangzhou. During the Jiayou era,15 I won my jinshi degree at the age of only twenty-one. At the time the court scribe sent a memorial to the throne: “Under the sun five-colored clouds have appeared.” On the strength of this the court conferred on me an important post, and I was appointed grand councilor in addition to my investiture as the Duke of Wei. This morning, just as I was resting upon return from morning court

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audience, a messenger from Minister Fan arrived to request my presence at a meeting. I wonder what this is all about. Of course I have to go. Well now, here I am already. Attendant, report that Duke Han of Wei is at the gate. Attendant: Reporting the arrival of the Duke of Wei. Minister Fan: Invite him in. (They greet each other.) Chief Minister, please sit down. Duke Han: You must have invited me for some official business? Minister Fan: Venerable Chief Minister, let us wait until the others have come: for I have something to discuss with all of you. Attendant, check again at the gate. Attendant: Yes sir. (Extra dressed as Lü Yijian enters.) Lü Yijian: My name is Lü Yijian.16 Ever since I received my jinshi degree, I have been promoted to various posts. Imperial favor is such that I am now a high minister. Today a messenger from Minister Fan came to request me to attend a meeting of the Grand Council. I wonder what this meeting is about. Of course I have to go. Well now, here I am already. Attendant, report that Minister Lü Yijian is getting down from his horse. Attendant: Reporting the arrival of Minister Lü. Minister Fan: Please show him in. (They greet each other.) Lü Yijian: Oh, Duke Han is already here. Minister Fan, you have asked me to come today. May I ask, what are we discussing? Minister Fan: Minister Lü, please have a seat and wait until all of the others have arrived. Then we can take up the matter together. (Comic dressed as Master Liu enters.) Master Liu (recites:) I rank top among dissolute rakes— A nonpareil rogue that put all to rout. Hearing of my name gives people headaches, For I am Master Liu with power and clout. I am from a family with great power and influence, being a descendant of several generations of officials. If I kill someone, I need not pay with my life; it would mean nothing more than ripping a tile off the roof of a house. I was just sitting around in my house when a messenger from Minister Fan arrived to ask me to attend a meeting. I wonder what this meeting is about. Of course I am going. So as I’m telling you this, I have already arrived. Attendant, report that I have come. Attendant: Reporting the arrival of Master Liu. Minister Fan: Show him in. Master Liu: The venerable ministers have all gathered together here. Minister Fan, what have you summoned us here to discuss? Minister Fan: Please sit down, Master Liu. I have invited you here for reason none other than this: today a report came from the officials of Chenzhou stating that harvests have failed there due to a serious drought, and that the people are suffering terribly. I went to court and submitted a memorial, and the emperor commands that

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two honest officials be sent forthwith to Chenzhou to sell rice from the imperial granary at the price of five taels per picul. Therefore, I have asked you here to discuss whom we can send to Chenzhou as granary officials. Duke Han: Minister Fan, the state should certainly act right away to relieve the crisis and bring succor to the people. We must select only the most honest, loyal, incorruptible, and capable persons. Lü Yijian: You are absolutely right, Duke Han. Minister Fan: Master Liu, what is your opinion? Master Liu: Venerable sirs, if I were to recommend two persons of the highest integrity and ability, they would be none other than my two children: my son-in-law, Yang Jinwu, and my son, Liu Dezhong. If you send them to Chenzhou, they will certainly not be remiss. What does Your Honor think of this suggestion? Minister Fan: Venerable ministers, Master Liu has recommended his two sons for the task of selling rice in Chenzhou. I have never met your two sons, Master Liu. Would you mind calling them here so that I can look them over? Master Liu: Attendant, summon my sons for me. Attendant: Yes sir. But where might I find the young gentlemen? (Comic dressed as Liu Dezhong and Clown dressed as Yang Jinwu enter.) Liu Dezhong (recites:) The height of the blue sky I know too well, Three hundred and sixty-seven feet, plus a mite. I climb the ladder to take a look, Only to find a stone in blue and white.17 I am the son of Master Liu, Liu Dezhong by name. This is my brother-in-law, Yang Jinwu. Taking full advantage of our father’s power and influence, we forcibly extort what we can, turn things upside down, gang up with the dissolute, and follow our depraved ways. Is there anyone who doesn’t know my name? Whenever we see trinkets and fine antiques—be they gold, silver, or precious gems—as long as they are worth anything, I just rob and grab with no compunction: in this I am truly my father’s son. If the goods aren’t handed over, then I kick and beat and pull out their hair, knock them over, and give them a few more stomps for good measure. Then I pocket the finest things and run away. Let them file a complaint at the yamen. Any timidity on my part, and you could abuse me for being an abject son of a toad! Our father just summoned us. I wonder what for. I guess we’d better go and see. Yang Jinwu: Elder Brother, father has sent for us today—probably sending us someplace to take care of some business—you bet we will get things done. Well, here we are. Hey you, guard! Go and announce that Master Liu Dezhong and his brother-inlaw Yang Jinwu have arrived. Attendant: Minister Fan, the two young masters have arrived. Minister Fan: Have them come in. Attendant: Please come in.

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(Liu Dezhong and Yang Jinwu greet all present.) Liu and Yang (together:) Why did our father summon us? Master Liu: Now that you’ve come, be on your best behavior when you meet these ministers. Minister Fan: Master Liu, are these two your sons? Judging from their looks and deportment, perhaps they wouldn’t be suitable? Master Liu: Minister Fan and all you honorable ministers: hear me out. Do you mean to say I don’t know my own sons? I vouch for them—they are honest, loyal, capable, and incorruptible. We can depend upon them to sell the rice. Duke Han: Minister Fan, these two certainly cannot go. Master Liu: My dear ministers: haven’t you heard the saying, “No one knows a child better than the father?” We can send these two. Lü Yijian: The decision is entirely up to Minister Fan. Master Liu: Minister Fan, I will draw up a document as guarantee: if anything goes wrong when my two sons go to sell the rice, I myself will be held accountable. Minister Fan: Since Master Liu has vouched for you, kneel in the direction of the palace and hear the imperial command: Because a severe drought has caused crop failure in Chenzhou and the people there are in dire straits, you two will proceed there to open the imperial granary and sell the rice. By imperial decree five taels of silver will buy one picul of rice. You must be just and respect the laws. Do not resort to punishment in dealing with the people. Today is an auspicious day, so you can set out on the long journey without further delay. Bow facing the palace in gratitude for this imperial favor. (Liu Dezhong and Yang Jinwu make obeisance.) Liu and Yang (together:) Thank you all, good sirs, for thus elevating us. We will go with pure hearts. When we return with the mission accomplished, you will for sure cheer us loud and clear. (As they are leaving, Master Liu speaks furtively to his sons.) Master Liu: Come here, my sons. I have a high enough official position, but our family’s wealth is somewhat depleted. Now you two are going to Chenzhou—use this official mission for our private gain. Take the price that the prime minister fixed at five taels and change that to ten taels per picul. Mix up some sand and husks in the rice, measure out eight units in every peck, and fix the scale by a third more.18 If word gets to the prime minister, I will take care of the situation here—go and let nothing weigh on you. Liu Dezhong: Father, we know, you needn’t have said anything. We’re even smarter than you are. There’s just one thing, however: suppose the people of Chenzhou don’t obey us—how would we control them? Master Liu: Son, that is a good point. Let me speak to the prime minister about this. (He presents himself before Minister Fan.) Minister Fan, I have just one question. When my two sons go to Chenzhou to sell rice, if the people there turn out to be unruly, how will my sons control them?

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Minister Fan: I anticipated this and have already submitted a memorial to the emperor. If the people of Chenzhou cannot be controlled, we have a purple and gold mallet bestowed by imperial order. They may use it to quell unrest, no questions asked. Guard, bring the mallet here right away. Master Liu, here it is. Give it to those sons of yours, and instruct them to be very careful with it. Liu Dezhong: Today we have received the minister’s commands and are on our way to Chenzhou to open the granary. (Recites:) Five taels per picul is the price they set, We’ll change it to ten and hedge our bet. Father gave his word—nothing can go wrong, We two are ruthless scoundrels all along. (Liu and Yang exit together.) Master Liu: Minister Fan, my two sons have left. Minister Fan: So your sons have gone. (Sings:) [Xianlü mode: Time for Appreciating Flowers] All because of the drought that has lasted years, crops have failed, And more than half of the people are adrift, Hence the mission to sell rice at Chenzhou. You have vouched for your sons, But I wonder whether they could shoulder part of the emperor’s load? (Speaks:) Guard, bring my horse; I am going to make my report to His Majesty. (Fan and Liu exit.) Duke Han: Minister Lü, as far as I can see, sending those two will do no good; they will certainly bring misery to the people. If in the future any memorial of complaint arrives from Chenzhou, I will know what to do. Lü Yijian: I look to you, sir, for plans to save the people and the realm. Duke Han: Minister Fan has already gone to court to report to His Majesty. Let us go home. (Recites:) Relieving the famine is no small matter, We count on honest and able officials to make things better. Lü Yijian (recites:) If in time we hear of anything untoward, You and I must make our case with our sage ruler. (Exit together.)

ac t 1

(Liu Dezhong and Yang Jinwu enter leading their followers and carrying the purple and gold mallet.) Liu Dezhong (recites:)

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As the Young Master I have charms galore. Justice? My love for money is front and fore. Should exposure one day cause my head to fall, I must with a big piece of plaster a wound forestall. I am Master Liu’s son, Liu Dezhong. Together with my brother-in-law, Yang Jinwu, I’ve come to Chenzhou to open the granary and sell rice. By our father’s advice, we are to change the price from the original five taels per picul to ten taels per picul. We will be mixing sand and husks with the rice. As for the transaction: a peck will be a short peck of only eight units, and the scales will measure one-third more. If these folks don’t submit, we need have no fear: for the imperially bestowed purple and gold mallet is right on hand. Followers, summon the granary hands for me. Retainer: Where are the granary hands? (Two Clowns dressed as Granary Hands enter.) Granary Hands (recite:) As granary hands we have two eyes in fives,19 We pilfer granary rice to feed our wives. We don’t cart it off outright But just build “chicks’ nests” in plain sight.20 We are both granary hands. Our supervisors consider us simple and honest since we haven’t coveted even a single grain of rice, and so they have employed only the two of us for many years. Now two freshly minted grain commissioners have arrived, and we have heard that they are not to be trifled with. I wonder why they summon us. Let us go and see. (They present themselves to Liu Dezhong and Yang Jinwu.) Sirs, you have summoned us? Liu Dezhong: So you’re the granary hands. Let me tell you that the price has now been fixed by imperial decree at ten taels per picul, and this is a number we cannot tamper with. There is nothing to be done but to secretly change the peck and the scale—so that a peck will amount to only eight units, and the scale will measure a third more. I will take the larger share of the profit and you will get the smaller share, so I’ll be splitting it with you sixty-forty. First Granary Hand: I get it. In this way Your Honor is looking after our interests and providing us with a tidy profit. Now we will go open the granary and see if anyone comes. (Three Peasants enter to purchase rice.) First Peasant: We are all commoners from Chenzhou. Because a severe drought has been going on for three years, all the crops have failed, and our lives have been truly difficult. Thanks to imperial grace, two special commissioners have come here to open the granary and sell the rice. I heard one of the officials said that imperial decree set the price at five taels per picul, but now it has been raised to ten taels per picul. Sand and husks have been mixed in with the rice, and the grain is sold with an eight-unit short peck, while we are paying to a scale enlarged by one-third. We fully realize this

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is not a fair transaction, but except for the granary, there is nowhere else to buy rice. What are we supposed to do, starve? There’s nothing to be done but to pool together some cash to buy rice and try to survive. Ah, we’ve arrived at the granary already. First Granary Hand: Where are you peasants from? Second Peasant: We are from Chenzhou and have come all the way to buy rice. Liu Dezhong: You two—examine their silver carefully. Some kinds of counterfeit silver are easy to detect, but you must watch out for those “four walls.”21 Don’t let them fool you with that kind. Second Granary Hand: Hey, you peasants, how much money have you pooled together to buy rice? Third Peasant: We have raised twenty taels. First Granary Hand: Put them on this scale. Not enough! Not enough! Your money amounts to only fourteen taels. Second Peasant: Our silver weighs a little over twenty taels! Liu Dezhong: What an unruly lot! Bring that metal mallet here and beat the hell out of them. First Peasant: Your Honor, don’t beat us. We will just give you more money. First Granary Hand: You had better pay more right away; I want to split it fortysixty with the granary commissioners. (The Peasants put more money on the scale.) Third Peasant: We are paying six taels more. Second Granary Hand: This is still short, but we’ll let it go. Liu Dezhong: Since the money is sufficient, measure out the rice for them. Second Granary Hand: One hu, two hu, three hu, four hu.22 Liu Dezhong: Don’t measure the full amount; tilt the scoop at an angle and give them some of that “chicks’ nest.” First Granary Hand: I know; I’m doing it in a hurry. First Peasant: You have only measured out one picul and six pecks, and it is mixed with sand and husks. If we pound the rice and remove the husks, we will only have a little more than one picul. Have done! Have done! Have done! It’s the fate of us commoners to suffer such grinding misfortune! Truly, “For the cure of the eyes’ sores he vouched, / But just then flesh from the heart is gouged.”23 (Exits.) (Male Lead dressed as Zhang Piegu enters with son Young Piegu.) Zhang Peigu (recites:) The poor patch up their tattered clothes in a hundred ways, Even as corrupt officials in long robes tarry on spring days. Whose fault is it that what we grow is destroyed? By whom are the crop-ruining wind and rain employed? I am from Chenzhou and my surname is Zhang. People think I have a bad temper, so they call me Zhang “The Cantankerous.” I have a son named Zhang Ren. Because Chenzhou is running out of grain, two granary commissioners have recently been

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sent here. I heard that the price is fixed by imperial decree at five taels per picul in order to bring succor to the people of the region. Now the two granary commissioners have jacked up the price to ten taels per picul; they also give short pecks and heighten their money scales by a third. I’ve scraped up these few taels of silver around my farm and I am going there to purchase some rice. Young Piegu: Father, there’s just one thing I should mention. You have a cantankerous temperament. When we get to the granary, it would be best if you didn’t say anything. Zhang Piegu: It is the virtuous intention of the court to bring succor to the people. If they misuse public resources for private gain, how can I let them off so easily? (Sings:) [Xianlü mode: Touching Up Red Lips] So these officials are in cahoots together. Conspiring inside and out, They squeeze us poor folks in between. Let us write this down and sign our names And indict them all the way to the Grand Council. Young Piegu: Father, since we have run into this kind of officials, what’s there left to say? Zhang Piegu (sings:) [River Churning Dragon] They are “upper beams that fail to be upright”;24 They set out to hurt others to profit themselves: how they invite acrimony! If they should give me any trouble, Don’t say I wouldn’t dare to take up the cudgel. There is nothing gentler than water in the creek, But, reaching unlevel ground, even it makes a rumble. If they purposely disobey the emperor’s decree, They’d just be vermin depleting the grain store And bloodsucking, pus-sucking flies. (Speaks:) Well, we’re here already. (Zhang Piegu greets the Granary Hands.) First Granary Hand: Hey, old man! If you’ve come to buy rice, bring your silver here for me to weigh it. (Zhang Piegu hands him the silver.) Zhang Piegu: Isn’t this silver right here? (Granary Hand weighs Zhang’s silver.) First Granary Hand: Well, old man, you only have eight taels. Zhang Piegu: I gave you twelve taels, but your scale shows only eight. How could it be that short? Young Piegu: Sir, we brought twelve taels, how could it weigh only eight? You should weigh it fairly. Second Granary Hand: You ass! The scale now shows eight taels. Did I swallow a piece of your silver?

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Zhang Piegu: Well! We did have twelve taels. How could it weigh eight? (Sings:) [Oily Gourd] Good sir, do not be so overbearing: Do you dare let me weigh it myself ? First Granary Hand: This old fellow is so dense. Your silver was short from the beginning. How could I weigh out any more for you? Heavens above be our justice! Zhang Piegu (sings:) Who in this day and age is not shrewd? Here I am, turning round and round, as if endless peaks me confound, Here I am, pacing step by step, as if falling into a well glazed with pap. First Granary Hand: According to this scale, you don’t even come up to eight taels. Zhang Piegu (sings:) When you weigh silver, Your scale favors you by more than a sliver. (Granary Hand measures out some rice.) Second Granary Hand: I will measure out the rice for you, make a “chicks’ nest,” then grab some for myself. Young Piegu: Father, that man took some of our rice. Zhang Piegu (sings:) Aiya! Above all else this is an unfair sale; All along they use eight-unit peck and plus-three scale. Our silver is said to be two taels short— How can I not fight them? First Granary Hand: Our two officials who opened the granary are honest and upright; they don’t accept any bribes from the people—they just want straight cash plain and simple. They are there for the people! Zhang Piegu: What sort of officials are they? Second Granary Hand: You can’t tell? Those two are the granary commissioners. Zhang Piegu (sings:) [Joy for All Under Heaven] Compared to Bao Longtu of Kaifeng You are four measures short.25 First Granary Hand: Old man, no more of your nonsense! Those two are men of power and influence. Don’t provoke them. Zhang Piegu (sings:) Your charade of honest officials And laws dutifully upheld! Give a bit more! It’s not as if you would then bear the blame! Second Granary Hand: This pile of rice tapers to a point—I had better take some more off the top. Young Piegu: Father, he took more of our rice.

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Zhang Piegu (sings:) Here they shortchange you half a peck, There they pinch off a few units; Belittling us, they belittle themselves! Second Granary Hand: Keep your sack open and I’ll measure it out for you. Zhang Piegu: How are you measuring it? I haven’t come to buy rice for my own gain. First Granary Hand: You haven’t come to buy rice for your own gain, and neither have I. I have received an official appointment to sell rice. Zhang Piegu (sings:) [Golden Cup] You say you have an official appointment, But I say you are working for your private gain. As I see it, one-tenth of a unit of rice Is tied up with eight or nine lives. This is not like a crowd fighting over wild game. You are truly taking bones and scraps from hungry wolves And grabbing dregs from a beggar’s bowl. I would rather lose units than pecks, And why do you care for gain but not your name? First Granary Hand: The old guy is an ignoramus. How dare you curse the granary commissioners? I’m going to report on you. (First Granary Hand reports to Liu.) Liu Dezhong: What do you two want? First Granary Hand: Sir, I would like to inform you that an old man came to buy rice and didn’t have enough money, and he turned things around and cursed you. Liu Dezhong: Bring him here. (Zhang Piegu greets Liu and Yang.) You bandit!26 You are courting death! You come up short, yet you dare to curse me! Zhang Piegu: You two are nothing but robbers who ruin the people. You are a scourge for the people! You do the state no good! First Granary Hand: You see, sir, that I wasn’t lying. Isn’t he cursing you? Liu Dezhong: This old fool has no sense of propriety. Bring me that purple and gold mallet so I can beat him. (Zhang Piegu is beaten, and his son puts his hands around his father’s head.) Young Piegu: Father, wake up! What did I say? I told you not to open your mouth, and now you have suffered the blows of this mallet. Father, I fear you may not survive this! Yang Jinwu: You didn’t beat him hard enough. If it were up to me, I’d dash his brains out so that he wouldn’t even be able to wrap his head scarf.27 (Zhang Piegu gradually regains consciousness.) Zhang Piegu (sings:) [Welcoming the Drums in the Village]

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All I saw was the gold mallet falling— Just as if thunder struck me down. He beat me until my body is blood bespattered; How can I fight with him? I don’t even know where I was beaten, On the spine? The shoulders? The top of my head? I just feel the pain as if My teeth were drilled, My heart cut out, Flesh being scraped off my bones. Oh, heavens! Wouldn’t this just finish me off ! I came to buy rice. Why did you beat me? Liu Dezhong: That life of yours counts as much as a blade of grass. What does it matter if I beat you? It was I who struck you, so go ahead and report me wherever you want. Young Piegu: Father, what will we do now? Zhang Piegu (sings:) [Song of the Yuanhe Reign] We rice buyers, what crimes are we guilty of ? With you rice sellers we would tangle and not let go. Liu Dezhong: It was I who beat you, but so what? Go right ahead and accuse me wherever you can. Zhang Piegu (sings:) The punishments of exile and beating are right there to be suffered by the lowly. Haven’t you heard—outside every home is a pit ten thousand feet deep, And such pits should be filled in if they can be filled in. But if someone pushes you in, this is not a small matter. Yang Jinwu: We two are as clean as water, as white as flour. Was there one who did not praise our civil and military accomplishments at court? Zhang Piegu (sings:) [Beauty on Horseback] You are nothing but a turnip demon, Green and clean only on top.28 Liu Dezhong: So it seems I am some wild weed! How dare you call me names! Zhang Piegu (sings:) You sit in the money-worshipping yamen hall, You excel in polishing mirrors in a bowl of paste.29 Yang Jinwu: We are renowned for our unsurpassed honesty. Zhang Piegu (sings:) Ai! And you say you’re pure— Purer than ice in a flagon of jade.

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Liu Dezhong: I am afraid that it was precisely because of our unexcelled purity that the whole court recommended us for this mission. Zhang Piegu (sings:) [The Winning Gourd] All they did was to point to the goose in the distant sky and fancy goose soup; Who is actually willing to exert himself for the court? Yang Jinwu: You old fool, trying to faze us with the court! I’m not afraid of you—no, I’m not afraid! Zhang Piegu (sings:) The day will come when you will suffer the blade of just punishment. Then, with your riches depleted, Your family gone, your household ruined, Only then will you regret the travesty of just government. Liu Dezhong: This impecunious wretch is like a boil in my eye, a thorn in my flesh. I could do away with him like squashing a rotten persimmon—there’s nothing to it! Zhang Piegu: Shush! (Sings:) [Flowers in the Rear Courtyard] You say that the poor are boils in the eye, Beauties are tumors on the neck. (Speaks:) Could it be that your family does not follow the imperial law? (Sings:) Even if you get to spread wine and meat to feast in public, Whoever gave you permission to weigh gold and silver? (Speaks:) Son, go indict him for me. Young Piegu: Father, you can tell he is a powerful man. I fear that there is no way to accuse him. Zhang Piegu (sings:) Son, go quickly now and indict him—have no fear! Young Piegu: Father, if I were to accuse him, to whom should I point as witness? Zhang Piegu (sings:) Just point to that purple and gold mallet—it alone is proof enough. Young Piegu: Father, even if we have proof, where can I go to report him? Zhang Piegu (sings:) Go straight to the High Court of the Central Bureau, Cry out “injustice” a few times, Then state the facts of our plight. There has to be nobles and ministers around— They must accede to your demand. Young Piegu: If they don’t acknowledge my case, then where should I go? Zhang Piegu (sings:)

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Even if these rotten scoundrels Have a hundred wiles To thwart us at every yamen, You still have to go to the Imperial Court and bang the Drum of Injustice.30 [Blue Brother] Although it is uncertain whether we will succeed, You must know that karmic retribution is unstinting. How can it be that this purple and gold mallet is used to kill so casually? Even as the dead in the darkness of hell, I will never forget and relent. I will report this to the spirits, Summon you to the courts of the underworld, And take your confessions. Only when you pay with your life for mine Will my bitter resentment be assuaged. If this does not come to pass, My falconlike eyes will never close even in death. (Speaks:) Child, it looks like I’m going to die. You go and accuse them for me. Young Piegu: Yes, Father. Zhang Piegu: These two murderous bandits take fat salaries but never share the cares of the Son of Heaven. Instead, they have come to destroy us. Oh heavens! (Sings:) Once tainted by money, their judgment is impaired; Only if they do not want money can they be fair and square. Most embezzle as you do, receiving imperial emoluments in vain. (Speaks:) You murderous thieves, stop and think: why did the court send you to open the granary and sell rice? (Sings:) Just reflect: was it not indeed to relieve the famine? Instead, with the mallet you have smashed my skull. Young Piegu: Father, when should I make the accusation? Zhang Piegu (sings:) Set out right away for the capital today. “For fierce fighting nothing beats a father-and-son team”—it’s just as they say. Choose an official totally just and upright and seek redress. Confront these murderous bandits at court as your case you press. Young Piegu: Father, but which great official shall I seek out? Zhang Piegu (sighing:) If you were to rid us Chenzhou people of this scourge, (sings:) Then the only option is Bao Longtu of iron mien and uncompromising justice. (Zhang Piegu exits.) Young Piegu (crying:) Father has died, how can I not seek redress! I figure that here in Chenzhou I wouldn’t be able to touch them, so today I am off to the capital to pick out the greatest yamen to state my case. (Recites:)

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All say that the granary was opened to relieve famine, Instead it brought about my father’s death. I did not pop out from a barren mulberry tree.31 And if I do not avenge this wrong, my name is not Zhang. (Exits.) Liu Dezhong: Granary hands, that old man was about to accuse me. I figure even if they press the case all the way to the capital, my father is right there. Moreover, Minister Fan is a good friend of my father’s. Never mind one poor wretch—even if I were to kill ten men, this would but count as five pairs.32 We have nothing better to do, so let’s both go drinking at the courtesan Wang’s place at Dog Leg’s Bay. A time-honored truth: Touch the granary, and it will be our making. Find service at Courtesan Wang, there is no mistaking. (Exits.)

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(Minister Fan enters leading his Attendant.) Minister Fan: I am Fan Zhongyan. Since Master Liu recommended his two sons to open the granary and sell rice at Chenzhou . . . who would have guessed that once in Chenzhou, those two would be so corrupt—breaking the law, getting drunk, being miscreants in every way. The emperor has commanded us to dispatch another official, an upright one this time around, to Chenzhou to settle this affair. He will carry an ordinance sword and a gold tablet bestowed by imperial order and will have the authority to “execute first and report to the throne afterward.” Today I’m conducting discussions with the nobles and high officials in the Council Hall. I wonder why they haven’t arrived yet. Attendant, keep watch at the door and notify me when they arrive. Attendant: Yes sir. (Duke Han of Wei enters.) Duke Han: I am Duke Han of Wei. Today Minister Fan is in the Council Hall and his messenger has requested me to come. I wonder what this is all about. I had better go. Here I am at the Council Hall already. Attendant: Announcing the arrival of Duke Han of Wei. Minister Fan: Ask him in. (Duke Han greets Minister Fan.) Minister Fan: I see that you have arrived, Duke Han; please sit down. (Lü Yijian enters.) Lü Yijian: I am Lü Yijian, and I was just enjoying leisure at home when Minister Fan at the Council Hall sent someone to request my attendance. So I must go. Well, before you know it, I have already arrived.

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Attendant: Announcing the arrival of Minister Lü. Minister Fan: Show him in. (Lü Yijian greets Minister Fan.) Lü Yijian: Duke Han is already here. Why has Minister Fan asked me to come? Minister Fan: Your Honors, this is about selling rice in Chenzhou, the matter we discussed earlier. Master Liu recommended his two sons for the position of granary commissioners. Now they are there—corrupt, unscrupulous, debauched, and breaking the law. The emperor has instructed me to gather all the high ministers in the Council Hall and recommend a righteous official to be sent to Chenzhou to settle this affair. Wait until everybody arrives and together we will select someone. Duke Han: I think that Minister Fan must already have someone in mind for the task; we should recommend that person. (Young Piegu enters.) Young Piegu: I am Young Piegu. My father and I went to purchase rice, but who could have known that my father would be beaten to death by the two granary commissioners! As he lay dying, my father told me to seek redress with Judge Bao. I’ve heard he is an old man with a white beard, so I will wait by the side of this main road and see who comes along. (Master Liu enters.) Master Liu: I am Master Liu. I have had no news from my sons since they went to Chenzhou to sell rice. Minister Fan just sent for me. I don’t know what this is all about, but I’d better be on my way. Young Piegu: Could this old man with the white beard be Judge Bao? I will try to intercept him and seek redress. (He kneels.) Master Liu: Hey there, young man, what kind of grievance do you have? I will take care of it for you. Young Piegu: I am from Chenzhou. When my father and I took our twelve taels to buy some rice, those granary commissioners killed him with one strike of the gold mallet. No one in Chenzhou dared to confront them. Sir, are you really Judge Bao? Please take this case on and grant me justice! Master Liu: Young man, I am indeed Judge Bao. You needn’t go anywhere else to press your case, I will take care of it for you. In the meantime, just wait over there. Young Piegu (rises:) I understand. Master Liu (aside:) Hai! Those two wretches really did it this time! Attendant, announce that Master Liu is at the door. Attendant: Announcing the arrival of Master Liu. (Master Liu greets the ministers.) Minister Fan: Master Liu, those two sons you recommended sure are fine, honest officials! Master Liu: Prime Minister, my two sons really are honest officials. Indeed I do not dare to deceive you.

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Minister Fan: Master Liu, from what I have heard, once your sons got to Chenzhou, they drank, flouted rules, ignored their duties, coveted bribes, broke the laws, and brought much suffering to the people. Do you know anything about this? Master Liu: Minister Fan, don’t listen to what people say. Men whom I recommend don’t do such things. Minister Fan: Your Honors, he still doesn’t believe me. Young Piegu (asks the Attendant:) Sir, the one who just went in, is he really Judge Bao? Attendant: No, he is Master Liu. If you want to see Judge Bao, he hasn’t arrived yet. Young Piegu: Heavens! Master Liu is the one I wanted to accuse. Who would have guessed that I jumped straight into the tiger’s jaws! I’m done for! (Male Lead dressed as Judge Bao enters leading his servant Zhang Qian.) Judge Bao: My name is Bao Zheng; my style name is Xiwen. I hail from the village of Lao’er of the district of Siwang in the commandery of Jindou. Honored as academician of the Longtu Pavilion, I have also been appointed magistrate of the south yamen here in Kaifeng. Now that I have returned from conducting an inquest at the five southern provinces33 by imperial order, I must go to the Council Hall and greet the assembled nobles and ministers. Zhang Qian: Judge Bao, when I think of your service as an official, I wonder how early you go to work and how late you withdraw from the yamen. Your Honor, please tell it for the benefit of this humble listener. Judge Bao (sings:) [Zhenggong mode: Proper Decorum] From five in the morning when the clouds billow Until five in the evening when the sun should set, I bury my head in case documents, no rest do I get. Constrained by my purple official robes, I find it hard to raise my arms. I know all there is to know about being an official. [Rolling Silken Ball] By not accepting money, I fear for the others’ pain,34 But to accept money just goes against the grain. Only my monthly salary barely suffices to meet my many obligations.35 Zhang Qian: Your Honor is a man who is not afraid of confronting powerful and influential persons. Judge Bao (sings:) I have tangled with powerful men and provoked resentment as great as mountains and seas, I once executed that Lu Zhailang in the marketplace36 And put Commissioner Ge in prison for his case.37 I have suffered more than enough vile curses from a host of people. Zhang Qian: Although Your Honor is advanced in years, you haven’t lost any of your spirit and will.

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Judge Bao (sings:) By now all is over with one stroke of the brush. And henceforth for things not my concern I will say to myself: Shush! I have seen through ways of the world and will only nod As I enjoy great freedom! (Speaks:) Well, we have arrived at the Council Hall. Zhang Qian, take care of my horse. Young Piegu: I asked someone and he said that this is Judge Bao. (He kneels and shouts.) Injustice! Your Honor, please take up the case of this humble one! Judge Bao: You there, young man, where are you from? What injustice did you suffer? Speak truthfully and I will redress your grievance. Young Piegu: I come from Chenzhou, where for close kin I had my father, Zhang Piegu by name. Now at Chenzhou there are two officials who have opened the granary to sell rice. The price was fixed by imperial decree at five taels of silver per picul, but they changed it to ten. It was all our family could do to scrape together twelve taels to buy some rice, but with their scale it came up to only eight taels. When my father stepped forth to argue with them, they beat him to death with that purple and gold mallet. I wanted to shout out this injustice and charge them, but everybody said this is a powerful and influential clan that none would dare touch. When my father was about to expire, he said, “After I die, my son, go directly to the capital, find Judge Bao, and make your case.” Now that I’ve finally met you, it’s as if the clouds had opened up to let the sun shine through, or as if a dull mirror were polished once more. You must, Your Honor, redress the grievance for this humble one. (Recites:) I was about to tell all, not sparing any detail. But, choked with tears, all words did fail. With the purple and gold mallet they murdered my father— Indeed I have suffered grievance that knows no pale. Judge Bao: Why don’t you wait over there. (Young Piegu pulls Judge Bao’s robes.) Young Piegu: Your Honor, if you don’t redress my grievance, then who will? Judge Bao: I quite understand. (Young Piegu pulls Judge Bao’s robes three times.) Attendant, announce that Judge Bao is at the door. Attendant: Announcing the arrival of Judge Bao. Minister Fan: Good, Bao Longtu has come. Make haste to invite him in. (Judge Bao greets the others.) Duke Han: Since you have just returned from an inspection tour of the five southern provinces, you must be weary from your journey. Judge Bao: It cannot be easy for you either, Honorable Ministers, toiling as you do over affairs of state. Master Liu: You, sir, have come a long way. Judge Bao: Master Liu, do excuse me.

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Master Liu (aside:) Why did he look at me like that? Could he have seen the one who came to file a charge? I’ll pretend I know nothing about it. Judge Bao: Upon my return from the inspection tour at the five southern provinces, I had an audience with the emperor yesterday. Today I have come especially to pay my respects to all of you, Honorable Ministers. Minister Fan: I wonder at what age you began your career as an official, and how old you are now. Please take your time and tell us, and we will listen respectfully. Judge Bao: Minister Fan, you ask how many years I have served and how old I am. If you don’t mind the tiresome details, I will tell you. (Sings:) [If a Scholar] Since I passed my examination at thirty-five or thirty-six, I have served to my present age of seventy-eight or seventy-nine. Haven’t you heard, by middle age all things cease to matter? I have studied the Tang and the Han and pored over the Spring and Autumn Annals— They all provide me with models in serving as an official. Minister Fan: You’ve been an official for a great many years and must have seen everything. Lü Yijian: As an official you have been totally loyal to the state, attacking the corrupt and championing the honest. Now when the powerful and influential clans within and without the court hear your great name, which one among them is not terrified? You are veritably the virtuous minister true to ancient exemplars. Judge Bao: It’s not worth mentioning. When my thoughts turn to the wise ministers of former dynasties who all met with unjust ends, I realize that to be uncouth and straightforward like me is ultimately not the way of self-preservation. Minister Fan: Please tell us a little more. Judge Bao (sings:) [Rolling Silken Ball] There was Qu Yuan who drowned in the river, There was Guan Longfeng put to the blade.38 There was Bi Gan whose heart was ripped out by the tyrant Zhou,39 There was Han Xin, in the Midnight Palace unjustly cut down.40 Lü Yijian: Judge, I think of Zhang Liang, who “devised strategies within a tent and determined victories a thousand miles beyond it.”41 He helped Emperor Gaozu pacify the empire, but when he saw loyal ministers like Han Xin and Peng Yue executed one after the other,42 he took leave of titles and glory, claiming to follow and roam with Master Red Pine.43 He truly was a man of foresight. Judge Bao (Sings:) That Zhang Liang, had he not retired in good time . . . Duke Han: And Fan Li, of the kingdom of Yue,44 who drifted away on the Five Lakes in a small boat, he was no less a man of wisdom.

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Judge Bao (sings:) That Fan Li, had he not fled hiding his traces . . . Those two would not have ended up as intact corpses. I am a fish saved by the tear in the net: how dare I swallow the hook? It is best to return to the hills while there’s still time. What I fear is not coming to a good end as an official— And all strivings would have been in vain. (Speaks:) Honorable Ministers, I’m too old to be an official. One of these days when I have another audience with the emperor, I’ll make known my intention to retire. Minister Fan: Judge Bao, you’re quiet mistaken. These days how many in court are as honest and upright as you? Moreover, you haven’t yet declined; you’re just the right age for an official. Why would you want to request permission to retire? Judge Bao: Minister Fan, I have something I would like to say. Master Liu: Judge Bao is right. Now that he is advancing in years, for him to give up office and enjoy life in retirement will be the height of happiness! Minister Fan: What is it that you want to say, Judge Bao? I will listen. Judge Bao (sings:) [Senseless Rod] There’s just one thing for which I must make my case with the emperor: And that is, all powerful rogues are without exception my enemies. Minister Fan: What do you intend to do about them? Judge Bao (sings:) They are like robbers who plunder, And I am like the fierce hound guarding the house. They want money and goods, But what can they do about this hound in close pursuit! They wish for my death this very day So their freedom none could gainsay! Minister Fan: Judge Bao, please first return to your residence. We have something else to discuss here. Judge Bao (taking his leave:) If you, Honorable Ministers, will excuse me, I will return home. (He goes out the door. Young Piegu kneels at the door and calls to Judge Bao.) Young Piegu: Your Honor, my case rests with you! Judge Bao: I nearly forgot this matter. Well now, young man, you go back first and I will follow later. Young Piegu (thanking Judge Bao:) Since I have met Judge Bao this day, he will certainly take up my case. He told me to go back first, so I dare not tarry any longer. I must return to Chenzhou and await his arrival. (Recites:) Today I got to meet Bao Longtu And report that my father was unjustly killed.

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I turn back to Chenzhou to await his coming, When he will with the mallet give those knaves a beating. (Young Piegu exits. Judge Bao turns around and reenters the hall.) Minister Fan: I thought you had left. Why have you come back? Judge Bao: I was about to go home when I heard that a bunch of corrupt officials in Chenzhou were inflicting serious harm on the people. I wonder whether Your Honor has dispatched capable officials to Chenzhou? Duke Han: Minister Fan appointed two officials to go. Judge Bao: But, which two officials were they? Minister Fan: Judge Bao, you wouldn’t know, but after you went on your inspection tour of the five southern provinces, the court, lacking better options, sent Master Liu’s son, Liu Dezhong, and his son-in-law, Yang Jinwu, to sell rice at Chenzhou. There has been no news from them for some time. Judge Bao: I heard that the officials in Chenzhou are venal and the people are stubborn and uncouth. Wouldn’t it be best to send another commissioner to investigate these officials and pacify the people? Duke Han: Judge Bao, you wouldn’t know, but we are all gathered here today precisely for this reason. Minister Fan: By imperial command I am to send another honest official to Chenzhou; in the first place, to sell rice, and in the second place, to conduct an inquest. I think that others will not be equal to this task, and I shall trouble Judge Bao to make the trip. Would you consider it? Judge Bao: I cannot go. Lü Yijian: If the judge cannot go, whom can we send? Minister Fan: The judge is adamant about not going. Master Liu, it is your turn to beg the judge to go. If he won’t go, then you will. Master Liu: I understand, Your Honor. Judge Bao, please make this trip to Chenzhou—after all, what does it matter? Judge Bao: Since Master Liu wants me to go, I’ll do it for his sake. Zhang Qian, get my horse ready, we are leaving for Chenzhou. Master Liu (shocked, aside:) Aiya! If this old man goes, what will become of my two sons? Judge Bao (sings:) [Taking Off the Plain Robe] I have never known compromise, fakery I dispatch: I am like fuel added to fire when I meet my match. Those powerful officials just rouse my ire as our fight becomes dire: And thank you all for recommending me to the court. Master Liu: I didn’t recommend you at all. Judge Bao (sings:) [Little Liangzhou] My heart is anxious over the altars of the state. (Speaks:)

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Zhang Qian, bring my horse. Zhang Qian: Yes sir. Judge Bao (sings:) So today to Chenzhou we make our way, My mind being set on going, I cannot be made to stay. Embroiled in this affair together, they stand to gain, But I fear that all their machinations will be in vain. (Speaks:) Hear me, Honorable Ministers. If I’m to go, then I shall go; but if there are powerful rogues that prove difficult to control, what should I do? Minister Fan: Judge Bao, you need not worry. By imperial command I bestow upon you this ordinance sword and gold tablet. You have the authority to “execute first and report to the throne afterward.” Please accept this ordinance sword and gold tablet and then depart for Chenzhou. Judge Bao (sings:) [Same tune as above] I am grateful that the emperor is bringing succor to the people. But this sword! Will it be willing to desist when it gets to Chenzhou? I dare say you will claim your turn to bite someone’s flesh. Alas! Watch for those benighted ones, no better than birds and beasts; I will not hesitate to lop off their treacherous heads. Master Liu: When Your Honor gets to Chenzhou, remember that those two granary commissioners are my sons. Please watch out for them on my account. Judge Bao (looking at his sword:) I know; I will watch out for them on account of this. (He looks at the sword three times.) Master Liu: How unyielding you are! I have pleaded with you again and again, and all you do is to look at that ordinance sword and say that you will watch out for them on account of that. Do you actually dare to kill my two sons? When it comes to our official positions, I have no reason to fear you; when it comes to wealth, I am better off than you. Judge Bao: How could I be compared with you? (Sings:) [Teasing Children] The gold and silver you have amassed the Big Dipper exceed, You are hoping for good fortune lasting till heaven and earth recede. Let us see how you will end: you who equate household and state, You who know no shame as words tumble in full spate. For I have earned my thousand-bushel emolument by the tip of my brush, But with what blade of sword have you won your title and fief ? Master Liu: Judge Bao, I’m not afraid of you. Judge Bao (sings:) For your part, don’t bother to boast: Although you have done much harm, I will relieve the plight of the people of Chenzhou.

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Master Liu: Judge Bao, you don’t know how difficult it is to be a granary commissioner. Judge Bao: I know all about the corruption of granary commissioners. Master Liu: Since you know, then tell me, what are their abuses? Judge Bao (sings:) [Coda] By the river’s edge, transport leads to some amassing of grain, In the granary, storage results in some stockpile. As long as their own purses are fattened, they care not if the people waste away. (Speaks:) Now when I get to that place, (sings:) I must make them put away their rush baskets45 and give up their scoops. (Judge Bao and Zhang Qian exit.) Master Liu: Ministers, this affair is not going to end well. When the old man arrives at Chenzhou, he’s going to go after my sons. Duke Han: Master Liu, it’s all right; just discuss this with Minister Fan. Minister Lü and I will first take our leave. (Recites:) Master Liu: you should not be in a fluster, With Minister Fan you should deliberate the matter. Lü Yijian (recites:) The phoenix alights on the parasol tree, There will be those who with right and wrong make free. (Duke Han and Lü Yijian exit.) Minister Fan: Master Liu, set your mind at ease. I will speak with the emperor and have you petition the throne for an edict, saying that the living will be pardoned but the dead will not. This will guarantee that nothing will go wrong. Master Liu: I’m very grateful to you if this is the way it’s going to be. Minister Fan: You and I will go and have an audience with the emperor. (Recites:) Don’t fret over Judge Bao— Just first petition for pardon. Master Liu (recites:) Thanks to a half sheet of paper, My family will be saved from doom. (Exit together.)

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(Liu Dezhong and Yang Jinwu enter.) Liu Dezhong (recites:) Do nothing against your conscience by day, And you will not fear a knock on the door at night.

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I am Master Liu’s son. Since the two of us came to Chenzhou to open the granary and sell rice, we have been following our father’s advice: we have changed the price, mixed husks and sand into the rice, and swindled a lot of cash. How could we possibly bring it all home? These days we’ve been just drinking and carousing. But I’ve heard that the emperor has dispatched Judge Bao to Chenzhou. Brother, this old man is not one to be trifled with; every so often he “executes first and reports to the throne later.” I’m afraid his coming means we will be exposed. Let us go now to the post pavilion and make our round to receive old Bao. (Recites:) Old Bao is fierce as hell, Few have crossed him and lived to tell. If he would not let us be, We will have to run and see. (Liu Dezhong and Yang Jinwu exit.) (Zhang Qian enters bearing the ordinance sword on his back. Judge Bao enters riding a horse and listening to something.) Zhang Qian: I am Zhang Qian. I followed the great Judge Bao on his inspection tour of the five southern provinces. Now he has been given the ordinance sword and gold tablet, and we are on our way to Chenzhou to sell rice. He follows behind while I lead the way; there’s a considerable distance between us. Don’t you know that he’s an honest, upright man who doesn’t covet money? Although he disdains money and goods, it would be nice if he would eat some. However, whenever Judge Bao goes to a provincial, county, or circuit seat, he would dismount, enter the offices, and pay no attention to the food that the officials or elders have prepared for him. For three meals a day he eats only thin rice gruel. You might well be old and unable to eat, but I am a young man, and my two feet walk along with the horse’s four hooves. If the horse walks fifty li, I also follow and trudge fifty li. If the horse goes one hundred li, then I go for one hundred li. With a meal of thin gruel, I get really hungry before I cover as much as five li. Now since I’m walking in front, when I get to those households, I’ll say, “I am with the great Judge Bao, now on his way to Chenzhou to sell rice. On my back I carry the ordinance sword and the gold tablet giving us the authority to execute first and report later. You had better hurry up and prepare some food for me.” Juicy chicken,46 tea mixed with wine; if I get to drink that wine and eat that meat until I have my fill, I can grit my teeth and walk two hundred li and still have strength for more, not to mention a mere fifty li. Ha! I sure am a stupid bastard! I haven’t eaten anything but here I am jabbering away—but what if all of a sudden Judge Bao catches snippets of this from behind? What is to be done then! Judge Bao: Zhang Qian, what did you say? (Zhang Qian seems afraid.) Zhang Qian: I didn’t say anything. Judge Bao: What “juicy chicken”? Zhang Qian: Your Honor, your humble servant said nothing about “juicy chicken.” I was walking along when I happened across someone and asked him, “How far is

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it to Chenzhou?” He said, “You still have a long way to go.” How could I have said anything about “juicy chicken”? Judge Bao: Did you say something about “tea mixed with wine”? Zhang Qian: Your Honor, your humble servant said nothing about “tea mixed with wine.” I saw someone while I was walking and asked him, “Which way to Chenzhou?” He replied, “Just keep going—the road is straight as stretched yarn.” I didn’t say anything about tea mixed with wine. Judge Bao: Zhang Qian, I must be getting old and hard of hearing. I am an old man who can’t eat all that much, so whatever is prepared ahead is all yours to enjoy, and I will give you something that will satisfy you. Zhang Qian: Your Honor, what do you mean “something that will satisfy me”? Judge Bao: Take a guess. Zhang Qian: You said whatever there is to eat is all mine to enjoy, and you will also give me something that will satisfy me. Could it be bitter tea? Judge Bao: No. Zhang Qian: Dried turnips? Judge Bao: No. Zhang Qian: Then it must be thin rice gruel! Judge Bao: Wrong again. Zhang Qian: Your Honor, if it’s none of these things, what could it be? Judge Bao: What are you carrying on your back? Zhang Qian: I’m carrying the ordinance sword. Judge Bao: I’ll give you a taste of that sword. (Zhang Qian looks frightened.) Zhang Qian: On second thought, I would rather eat a little rice gruel. Judge Bao: Zhang Qian, now among the officials, soldiers, and commoners all over the world, there are those who are happy and those who are vexed when they hear that I’m making the rounds in plain clothes. Zhang Qian: If Your Honor had not brought it up, I would not have dared speak about this—but now that the people have heard that Judge Bao is going to Chenzhou to sell rice, who isn’t thanking heaven? They all say, “We have someone coming to redress our grievances!” What is the reason for such joy? Judge Bao (sings:) [Nanlü mode: One Sprig of Blossoms] Now commoners at the beck and call of officials are joyous, But all these officials holding emoluments are rancorous. On such short notice they cannot satisfy Bao’s standards, A hundred ploys cannot help them meet the emperor’s decrees. Now I have reached the twilight of my life, Horse and saddle have made fatigue rife. And people the whole world over are saying—

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“There goes Bao Longtu in plain gear, Making all those officials tremble with fear.” [Liangzhou Number Seven] My salary is only fifty or sixty thousand strings of cash, But as for executing people, I have been at it for twenty or thirty years, Be it in the capital, in prefectures, departments, or counties. Ever since our beneficent emperor put the world in order, And I assumed the mantle of power, I have gone through rounds of reexamining cases,47 Carefully tracing the matter to its basis. They may be no more than farmers fighting over mulberries and land, Or brothers squabbling over the division of family property. We, we, we are the greater or lesser officials of the Song, They, they, they are the wealthy folk given room to collect some interest. Yet do you, you, you know how poor folk bitterly cry out against injustice? Now we are not far from Chenzhou: Even if someone mistreats me, You just blink and pretend not to see. Ride this horse, bear this tablet, and proceed on your own, On no account roll up your sleeves and let your fists be shown. (Speaks:) Zhang Qian, we are approaching Chenzhou. Take this horse with this tablet and enter the city first. Take care not to cause damage to these families. Zhang Qian: Yes Your Honor, I understand. I’ll ride the horse and go forward now. Judge Bao: Zhang Qian, come back, let me remind you again: I will be behind, and if someone bullies me or attacks me, you are not to intervene. Make sure you remember that. Zhang Qian: I will. (He starts to leave.) Judge Bao: Zhang Qian, come back. Zhang Qian: Your Honor: if you have something to say, please say it. Judge Bao: I am telling you to remember my orders well. Zhang Qian: Your Honor, I’m going ahead and entering the city. (Zhang Qian exits.) (Painted Female dressed as Wang Fenlian enters chasing a donkey.) Wang Fenlian: My name is Wang Fenlian. I live by the southern pass at Dog Leg’s Bay. I know no other trade but that of plying my charms for a living. Two officials who have been sent from the capital to open the granary and sell rice are here now; one is Yang Jinwu, and the other is Liu Dezhong. The way those two spend money at my place—whatever I ask for, they give me tenfold. How lavish they are! They are powerful and influential men, and all other inconsequential types no longer dare to come to my door. I have done my utmost to flatter them, and they have spent all of their money at my house. A few days ago I let them pawn a purple and gold mallet with me. If they have no money to redeem it, I’ll make it into hairpins and rings. Wouldn’t

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that be wonderful! It just happened that some sisters invited me for drinks and sent a messenger with a donkey to fetch me. No sooner had I gotten on that donkey than he suddenly bucked; I lost my grip on the reins and fell off, injuring this delicate waist of mine. Ooh, does it hurt! Moreover, no one helped me up, and by the time I managed to struggle to my feet, the donkey had run away. I can’t catch up with it—if only someone would help me get hold of it! Judge Bao (aside:) This woman doesn’t seem like one from a respectable family. Let me get hold of the donkey for her, then I’ll question her in detail and find out what is going on. (Wang Fenlian greets Judge Bao.) Wang Fenlian: Hey, old man there, grab that donkey for me. (Judge Bao gets hold of the donkey.) Wang Fenlian (thanks Judge Bao:) I am much obliged to you, old man. Judge Bao: Young lady, where are you from? Wang Fenlian: Here’s a real country bumpkin! He cannot tell who I am. I live at Dog Leg’s Bay. Judge Bao: What kind of business does your family do? Wang Fenlian: Old man, take a guess. Judge Bao: All right, I’ll try. Wang Fenlian: Well, come on. Judge Bao: Do you run an oil mill? Wang Fenlian: No. Judge Bao: Manage a pawnshop? Wang Fenlian: No. Judge Bao: Do you sell cotton and silk fabric? Wang Fenlian: Wrong again. Judge Bao: If it is none of these, what kind of business is it? Wang Fenlian: At my house we sell fresh quails.48 Old man, where do you live? Judge Bao: I had only a wife, and she passed away long ago. I have no children, so I wander about begging for my meals. Wang Fenlian: Old man, come with me; I could use someone like you. Just stay at my house, and you’ll have all the good meat and good wine you care for. Judge Bao: Fine! Fine! I’ll go with you, young lady. How will you employ me? Wang Fenlian: My dear old man, if you come with me, I’ll dress you up: give you a crisp top, a new hat, a tea-brown sash, and a pair of clean, comfortable leather boots. You will sit on a stool at the gate of my house and guard the entrance. Wouldn’t that be a good deal for you? Judge Bao: Young lady, what kind of people frequent your place these days? You can tell me. Wang Fenlian: Old man, other playboys and traveling businessmen don’t matter. But I have two clients, both granary commissioners, both powerful and rich. Their father

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is currently a big shot official in the capital. They are selling rice at a good price of ten taels per picul; they measure out rice with eight-unit pecks, and their scales measure one-third more. I have all I need, so I don’t ask them for anything. Judge Bao: Young lady, if you never wanted money from them, did you ask for other things? Wang Fenlian: They didn’t give me much money, but they did give me a purple-gold mallet. It would frighten you to death if you saw it. Judge Bao: I have lived to a ripe age, but when have I seen any purple-gold mallet? Young lady, if you let me take a look—that would surely be a blessing bringing luck and salvation. Wouldn’t that be nice? Wang Fenlian: If you see it, it will, indeed, bring luck and salvation. Come along with me, and I’ll let you take a look. Judge Bao: I’ll go with you. Wang Fenlian: Old man, have you eaten today? Judge Bao: No, I haven’t. Wang Fenlian: Old man, just come with me. Just up ahead there, those two have prepared a banquet and are waiting for me. When we get there, there will be wine and meat aplenty—you can have as much as you like. Help me up onto the donkey. (Judge Bao supports Wang Fenlian as she mounts the donkey.) Judge Bao (aside:) Everyone in the world knows that I occupy the post of prefect of South Kaifeng. But today in Chenzhou I find myself holding the donkey for this woman. Isn’t that laughable! (Sings:) [Sheep-Herding Pass] Not long ago I left the Leopard Tail carriage in the imperial retinue, Today at Dog Leg’s Bay I have gone a long way. Why dodge when following a horse or leading a donkey? I’m only afraid of meeting a commissioner, Or running into a censor. How could I, occupant of the eminent Longtu post, Keep company and get mixed up with this vixen? Wouldn’t I be first found guilty of amorous offense, And end up in a confounding case, being dismissed without pay? Wang Fenlian: Old man, just come with me, and I’ll show you that purple-gold mallet. Judge Bao: Good, good, I will go with you, and you will let me see the purple-gold mallet that brings luck and salvation. (Sings:) [Coda for the Turning Point] As I finish listening, my heart trembles with anger, So much so that for a moment rage chokes back words. They regard imperial stores from the granary as mere trifles—

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They can be as pitiless as they want, But I am filled with pity for the people. Just like fatsoes wrestling—they will be left with only huffs and puffs. (Judge Bao and Wang Fenlian exit.) (Liu Dezhong and Yang Jinwu enter leading the two Granary Hands.) Liu Dezhong (recites:) My eyelids are twitching tick-tick— Doom is sure to come quick. For if an honest official comes here, From the beams we’ll be strung for sure. We are to receive old Bao here. I don’t know why, but my eyelids are twitching. We just drank a few cups of “brainstorming” wine49 to hold down our jitters, and now we are taking our time waiting for him. (Judge Bao and Wang Fenlian enter.) Judge Bao: Young lady, isn’t this a pavilion for receiving officials? I’ll wait for you here. Wang Fenlian: Now that we have arrived, old man, help me down from this donkey. Wait for me here, and as soon as I go inside, I’ll bring you some wine and meat. Watch the donkey for me, too. (Wang Fenlian greets Liu Dezhong and Yang Jinwu.) Liu Dezhong (smiling:) Sister, you’ve come! Yang Jinwu: Well, my pet, you’ve come a long way. Wang Fenlian: You good-for-nothing wretches! Why didn’t you come to meet me? On the way I fell off the donkey and almost tumbled to my death. Then the donkey ran away. Luckily, I met an old man who got hold of the donkey for me. Oh, I almost forgot—he hasn’t eaten anything yet today. Let us first give him some wine and meat. Yang Jinwu: You there, granary hand, take some wine and meat to that old man with the donkey. (The First Granary Hand offers wine and meat to Judge Bao.) First Granary Hand: Come here, you old man leading the donkey, and I’ll give you some wine and meat. Judge Bao: Go and tell those granary commissioners of yours that I’m not eating this wine and meat—I’m giving it all to this donkey. (The First Granary Hand becomes angry.) First Granary Hand: How rude this old country bumpkin is! (He goes to tell Liu Dezhong.) Sir, I just gave some wine and meat to that old man leading the donkey. He didn’t eat any of it but instead gave it all to the beast. Liu Dezhong: Take him and have him strung from that locust tree. After I have received old Bao, we’ll take our sweet time beating him. First Granary Hand: Yes sir. (He has Judge Bao strung from the tree.)

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Judge Bao (sings:) [Wailing to High Heaven] That Master Liu recommended his sons, But how could Minister Fan also oblige and pronounce the imperial decree? Here we have rogue granary commissioners enjoying their wealth and titles. Totally oblivious to the sufferings of destitute commoners, They are mired in dalliances at the whorehouse. Instead of keeping to the price imperially decreed, They add to it, guided by greed. Granary rice they have stolen, Public funds they have pilfered— All going the way of that harlot, That harlot Wang Fenlian. Having seen their crimes for myself, Do you think I would let them off lightly? [Crows Crying at Night] Be the first to taste this sword eager for its opening act, For your life rests no more with high heaven. How is Master Liu going to get me to back off ? I have investigated this case in full sway And know it is no hearsay. What care I about your pull with the Minister Fan? Even if you go up to the imperial palace and appeal for heavenly favor, I, Bao Longtu with the iron mien, Have no choice but to list your names on the Purple List,50 And let your bodies perish in the Yellow Springs. (Zhang Qian enters.) Zhang Qian: To receive a command is to see it through to the end. My master ordered me to enter the city before him and to seek out Yang Jinwu and Liu Dezhong. I went directly to the granary to look for them but couldn’t find either of them. Now I don’t even know where Judge Bao is; I will just go ahead and take a look at this pavilion for receiving officials. (He catches sight of Liu Dezhong and Yang Jinwu.) Well, just as I am looking for them, here they are drinking wine! Let me go over and scare them a bit, drink a few cups, and then get some money for my trouble.51 (Zhang Qian greets them.) Good for you! Here you are still drinking wine! Right now Judge Bao is on his way to arrest you two; I have figured it all out. Liu Dezhong: Brother, do what you can—let us off and save us! Let me pour you some wine. Zhang Qian: You two knaves are really stupid. Don’t you know that it’s better to pray at the back of the stove rather than at the front?52 Liu Dezhong: Brother, you speak the truth.

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Zhang Qian: I have heard all about your affairs, but set your minds at ease, for I will take care of everything for you. Judge Bao is but the sitting Judge Bao—I am the standing Judge Bao.53 You can count on me! Judge Bao: What a fine standing Judge Bao! Ah, Zhang Qian! (Sings:) [Sheep-Herding Pass] This knave does not say much when he leads my horse, But now at the post pavilion he boasts with big words perforce. True indeed that in this life one cannot do without power! Ah, but you’re like Wang Qiao’s servant faking immortality; how can you attain immortality?54 Zhang Qian (pours his wine on the ground as libation:) If I don’t rescue you two, then may my life be like this wine. (He sees Judge Bao and shows fear.) Well, I’ll be damned! Judge Bao (sings:) So terrified that your face has the dull sheen of gold spirit money,55 Your limbs shake like a madman. In the end the mouse has no courage, And how can a monkey sit in Zen meditation? Zhang Qian: When you two knaves came to Chenzhou to sell rice, the imperially decreed price was originally five taels per picul. Why did you raise it to ten taels? When that Zhang Piegu said a few things, why did you beat him to death? And why do you have to buy drinks to treat Zhang Qian? And why did you have the old man leading a donkey strung up without permission? At this very moment Judge Bao is privately making his way into the city through the east gate. Why aren’t you going to receive him yet? Liu Dezhong: What is to be done! What is to be done! Since Judge Bao has entered the city, we two must go and welcome him. (He exits together with Yang Jinwu and the Granary Hands. Zhang Qian releases Judge Bao.) Wang Fenlian: Those two have left, so I’m going home too. Hey, old man, bring my donkey over here. Zhang Qian (curses Wang:) You worthless whore, drop dead! You still want this gentleman to lead the donkey for you? Judge Bao: Shut up! Sister, let me help you with the donkey. (Judge Bao helps Wang Fenlian mount the donkey.) Wang Fenlian: I am much obliged to you, old man. If you are busy, then that’s that; but if you should be free sometime, come over to my house to see the purple-gold mallet. (She exits.) Judge Bao: The nerves of these vermin who rob the people! (Sings:) [Hongzhong Coda] They care not about the ruler’s rancor, nor the people’s, They merely covet money for whores and for wine.

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Today lives will be lost and families broken: in an instant for all to see, I will pounce on these murderous vultures One by one, bringing them forth To be cut down by the ordinance sword. Do not blame me for not showing mercy. Just ask that harlot named Wang Who had no call to make me catch her donkey and walk such a long way. (Judge Bao and Zhang Qian exit.)

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(Comic dressed as Magistrate Liao of Chenzhou enters with the Clerk.) Magistrate Liao (recites:) Being district magistrate is no big bother As I judge cases with strut and swagger. Of two things I am truly partial— Turtle and crab in wine, there’s none better. My name is Liao Hua,56 and I humbly occupy the post of magistrate of Chenzhou. Today Judge Bao is ascending the yamen hall to preside in judgment. Clerk, assemble the various legal documents and get them ready for signature. Clerk: You give me these documents and tell me to arrange them properly, but I am illiterate, so how do I know what to do? Magistrate Liao: What effrontery! If you are illiterate, how did you become a clerk? Clerk: Don’t you know? I was hired as a substitute. Magistrate Liao: Well then, quickly clean off my desk, for Judge Bao is due soon. (Zhang Qian enters and arranges the courtroom.) Zhang Qian: Attention! Let all men and horses in the yamen be quiet. (Judge Bao enters.) Judge Bao: I am Bao Zheng. Because some vile and corrupt officials at Chenzhou have been making the people suffer, I have been ordered by the emperor to investigate them and soothe the people; this has not been easy, believe me. (Sings:) [Shuangdiao mode: Song of New Water] Knocking my head at the palace steps, I accepted the ruler’s commission, And I was sent to Chenzhou to purge the scourge for the people. An awe-inspiring name that sets the earth rumbling, A whiff of death that descends with the frost. I hold in my hand the ordinance sword and gold tablet, So do not blame me, Master Liu. (Speaks:) Zhang Qian, bring Liu Dezhong and the whole lot.

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Zhang Qian: Yes sir. (He brings Liu Dezhong, Yang Jinwu, and the two Granary Hands; they all kneel before Judge Bao.) Face the judge! Judge Bao: Do you know your crimes? Liu Dezhong: I do not. Judge Bao: Why, you rogue, what was the imperial decreed price for selling one picul of rice? Liu Dezhong: My father told us that the imperially decreed price was ten taels. Judge Bao: That price was set at five taels and you changed it to ten without authorization. You also used eight-unit short pecks and scales enlarged by one-third. How can you pretend not to know your crimes? (Sings:) [Stop the Horse to Listen] Money was your only goal: Blithely indifferent to the people’s suffering, you’re bent on grabbing. Now you are a bound captive, Your luck has run out, leaving calamitous reckoning for half a life.57 Just look at him: advancing as if going up the Terrace of Terror for the Soul,58 Shuffling back, as if about to fall into the Eastern Sea. I will have you quartered in the marketplace And make your soul fly beyond the blue heavens. (Speaks:) Zhang Qian, go to Dog Leg’s Bay and arrest that Wang Fenlian. Bring the purplegold mallet along with her. Zhang Qian: Yes sir. (He arrests Wang Fenlian, who kneels.) Wang Fenlian, face the judge! Judge Bao: Well now, Wang Fenlian, do you recognize me? Wang Fenlian: No, I don’t recognize you. Judge Bao (sings:) [Wild Geese Alight] Can it be that you, Prostitute Wang, are so daft? Are you so perversely ignorant of Judge Bao’s wide-ranging craft? You said that there is big money in entertaining granary officials— How come you spare your charms with the judge? Come now, Wang Fenlian, who gave you this gold mallet? Wang Fenlian: Yang Jinwu gave it to me. Judge Bao: Zhang Qian, choose a big stick, take off Wang Fenlian’s trousers, and give her thirty strokes. (Zhang Qian beats her.) Beat her and then throw her out. (She is thrown out and exits.) Zhang Qian, bring Yang Jinwu forward. (Zhang Qian seizes Yang Jinwu.) This gold mallet has the imperial insignia on it—why did you give it to Wang Fenlian? Yang Jinwu: Your Honor, have mercy on me. I didn’t give it to her; I pawned it for a few pastries to eat.

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Judge Bao: Zhang Qian, take Yang Jinwu out and off with his head in the marketplace, then report back to me. Zhang Qian: Yes sir. Judge Bao (sings:) [Victory Song] With all your might you plot your lot through the eye of a coin,59 But today by the sword will your body from life disjoin. Having violated Xiao He’s code,60 you may not expect clemency. Even if you had the wiles of Kuai Tong, how can you escape destiny? Your execution will brook no delay, For my ordinance sword is swift as wind. For your death there is a sure sign— Who told you to pawn the gold mallet for wine? (Zhang Qian takes Yang Jinwu away to be executed. Judge Bao speaks:) Zhang Qian, bring Young Piegu over here. Zhang Qian: Young Piegu: come forward and face the judge. (He brings the young man forward and orders him to kneel.) Judge Bao: All right, young man, which one killed your father? Young Piegu: It was this Liu Dezhong who took the purple-gold mallet and beat my father to death. Judge Bao: Zhang Qian, bring Liu Dezhong forward and let Young Piegu beat him to death with the gold mallet. Zhang Qian: Yes sir. Judge Bao (sings:) [Buying Good Wine] Liu Dezhong committed a great crime, And Young Piegu has bided his time. This is enmity he earned—how else to resolve it? It’s not that I am unduly harsh: But your father’s death is a debt you have to settle. [Song of Peace] Human lives have always mattered most—even heaven is concerned. How can we allow him to wantonly kill like a wolf or a tiger? The purple-gold mallet is before us still, Take it up and bash his brains in. Not before his flesh is rent And his blood spurts out, Not until he suffers this punishment, Will peace and order be restored to Chenzhou. (Young Piegu clubs Liu Dezhong to death.)

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Zhang Qian, is he dead? Zhang Qian: Yes, indeed. Judge Bao: Zhang Qian, take Young Piegu away. Zhang Qian: Yes sir. (Zhang Qian leads Young Piegu away.) (Master Liu rushes on stage bearing the imperial pardon.) Master Liu (recites:) My harried heart made the road seem long, I left my home when things went wrong. I am Master Liu. I made my case before the emperor himself and requested a pardon, sparing those still alive, not doing anything for those already dead. I traveled day and night to Chenzhou in order to save my two sons. Guards, stay the sentence—I have a pardon for those still alive, though it does nothing for those already dead. Judge Bao: Zhang Qian, who are the dead ones? Zhang Qian: The dead ones are Yang Jinwu and Liu Dezhong. Judge Bao: And who is alive? Zhang Qian: Young Piegu. Master Liu: Oh no! I have obtained a pardon for the wrong person. Judge Bao: Zhang Qian, release Young Piegu. (Sings:) [Joy at the Palace] All of a sudden I heard of the pardon, And I cannot help turning my head windward, laughing out loud. Just think: father and sons had always abused their powers, But today they have run out of luck and met their doom. He had hoped that the pardon would the inevitable avert, How was he to know that, faster than pardon, came death as just desert? All this topsy-turvy just bought pardon for another. It’s not that his all-too-human schemes lack cleverness, But they pale beside heaven’s justice, clear for all to see. (Speaks:) Zhang Qian, arrest Master Liu. Now hear my judgment. (Recites:) Because of drought and famine at Chenzhou, The poor people scattered hither and yon. Liu Dezhong was never fit for office grave, Yang Jinwu was even more of a knave. Bearing an imperial order to sell rice at Chenzhou, They changed the price and pocketed the difference. With the purple-gold mallet they unjustly killed a good man, Cries of grievance moved heaven and earth to sorrow. How could Minister Fan have condoned such vermin? He begged the throne for mercy, but not for the guilty dead. Today with justice we investigated this case,

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Sending Young Piegu to avenge his father’s murder. Only thus can we see the just law of kings Passed on for a thousand years to come.

Topic: Minister Fan Makes an Appointment for the Government Title: Judge Bao Solves the Case of “Selling Rice in Chenzhou”

n ot es 1. See Bao Zheng, Bao Xiaosu zouyi. 2. Huang Zhen 黃震 (1213–1280), Kujin jiyao 古今紀要, Siku quanshu, cited in Chen Tao, Baogong xi yanjiu, 41. 3. The official title daizhi means, literally, “awaiting (imperial) command or query.” Wilt Idema and Stephen West translate daizhi as “rescriptor-in-waiting” in Monks. 4. However, in that play, Zhang Qian Kills His Brother’s Wife on His Behalf (Zhang Qian ti shaqi 張千替 殺妻), Zhang Qian as male lead sings all the arias, and Judge Bao as extra has only improvisational lines not included in the text. 5. This ballad story appears in English translation in Idema, Judge Bao, 31–66. Although these stories were printed between 1471 and 1478, they were probably composed ca. 1200 to ca. 1300 (ibid., xviii–xx). 6. For studies of Judge Bao fiction, see Bauer, “Tradition”; Ma, “Kung-an Fiction”; Hanan, “Judge Bao’s Hundred Cases Reconstructed”; St. André, “Picturing Judge Bao.” 7. Idema, Judge Bao, xxvi. Idema argues that while later revisions “turned Judge Bao into an instrument of central state power . . . Judge Bao’s main antagonists [in the ballad stories] are members of the imperial family”—he thus implies that the ballad stories are more subversive (xxxiii–xxxiv). 8. That episode works its way into chapter 83 of An Yushi, Quan bu Bao Longtu pan baijia gong’an. 9. See, for example, Li Chunxiang, Yuandai Baogong xi xuanzhu; Wu Baitao, Gudai Baogong xi xuan; Kong Fanmin, Bao Zheng yanjiu; Ding Zhaoqin, Su wenxue zhong de Baogong; Chen Tao, Baogong xi yanjiu. 10. Zang Maoxun, YQX, 1:258–307. 11. The Phoenix Pond refers to the highest level of imperial bureaucracy, the Grand Council (Zhongshu Sheng 中書省), which was especially powerful during the Song dynasty. 12. Fan Zhongyan (989–1052) was a famous scholar, poet, statesman, and general of the Song dynasty. He rose to distinction from poverty. Famous for his integrity and learning, he set forth his reform objectives in his “Ten-Point Memorial to Emperor Renzong” (r. 1023–1063). Although these reforms had ultimately been rescinded by 1045 and Fan was sent to positions in the provinces (which was tantamount to exile), the more ambitious reforms designed by Wang Anshi (1021–1085) in the 1070s basically addressed the same issues. See Mote, Imperial China, 124–38. 13. The historical Fan Zhongyan never served on the Board of Revenue. 14. Like Fan Zhongyan, Han Qi (1008–1075) was a famous scholar, statesman, and general. 15. 1056–1063.

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16. Lü Yijian (979–1044) held the reins of power in Emperor Renzong’s court for two decades. He attacked reformers like Fan Zhongyan for “factionalism” (pengdang 朋黨). 17. According to a Chinese idiom, an ignorant person “has no clue how high the sky is or how thick the earth is” (buzhi tiangao dihou 不知天高地厚). Liu Dezhong comically exposes his delusion of power vis-à-vis the cosmos. 18. One picul (dan 石) was the equivalent of ten pecks, or about one hundred kilograms, in the Song dynasty. A Chinese peck (dou 斗) normally contains ten sheng 升 (translated here as “unit,” the equivalent of about one kilogram), not eight. The scale will be altered by 30 percent, so that a person will have to pay thirteen taels of silver for what reads as ten taels. 19. The corresponding Chinese term, duoluo 多羅, is a transliteration of the Sanskrit term for “eyes.” The granary hands boast of having “ten eyes” because they are so alert and watchful. The Sanskrit term may also evoke associations with the Buddha of many eyes. 20. The term “chicks’ nests” refers to a method of cheating by making holes in the measuring devices through which rice leaks out during the measuring process. 21. A type of counterfeit money, silver on the outside but lead on the inside. 22. A unit of measure that contains ten or five pecks. 23. Nie Yizhong 聶夷中, “Yong tianjia” 詠田家, in Taiping guangji 183.1365. The lines describe apparent amelioration that is far from real succor. 24. According to a Chinese idiom, “If the upper beams are not upright, the lower beams will be crooked”— that is, if the ruling class is unjust, there will be general disorder. 25. Judge Bao is also called Bao Longtu because one of his titles is “academician of the Longtu (Dragon Image) Chamber” (Longtu ge xueshi 龍圖閣學士). Two and a half fen 分 is one measure (xing 星), four measures is ten fen, or shifen 十分 (totally). The lines here mean, “You have totally fallen short of Judge Bao.” 26. The term for “bandit” here is hulahai 虎剌孩, the transliteration of a Mongol word meaning “bandits.” 27. The head scarf (wang jin 網巾) men used to tie their hair in the Ming seemed to have been already in use during the Yuan. 28. The word for “green” (qing 青) is homophonous with that for “clean” or “honest” (qing 清) and rhymes with that for “demon” (jing 精). Wang Jisi suggests that the root vegetable underground and the tufts of green above ground also serve as an analogy for the discrepancy between appearance and reality (cited in Zang Maoxun, YQX, 1:275). 29. To “polish mirrors in a bowl of paste” is a Song-Yuan idiom describing prevarication and befuddlement. 30. In ancient times people were allowed to declare their grievances by beating on a drum located outside the palace. 31. Yi Yin, adviser of the first Shang king Cheng Tang, is said to have been born from the hollow stump of a mulberry tree. 32. As his father’s friend, Fan Zhongyan would discount the seriousness of any crime he committed. If Liu Dezhong killed ten men instead of one, it would not make any difference to Fan. 33. The “five southern provinces” (wunan 五南) refers to Jiangnan, Hunan, Lingnan, Hainan, and Yunnan. Historically officials conducting inquests during the Song would not have covered such a vast area. 34. “The others’ pain” is, literally, “going against the feelings of others” (weile zhongqing 違了眾情): this may refer to Judge Bao’s underlings in the yamen (who will also be denied “extra income” if Judge Bao refuses a bribe). As Zhang Qian makes clear in the following scene, a judge’s subordinate stands to profit in many situations. See also chapter 99 in Honglou meng 紅樓夢 (The Story of the Stone). 35. “Obligations” (renqing 人情) here refers specifically to the obligatory gifts for weddings, funerals, and festivals. 36. Judge Bao brings the villain Lu Zhailang to justice in Judge Bao Uses a Ruse to Execute Lu Zhailang (Bao daizhi zhizhan Lu Zhailang 包待制智斬魯齋郎), attributed to Guan Hanqing.

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37. In the Yuan play Yan’an Prefecture (Yan’an fu 延安府), the upright official Li Gui punishes Commissioner Ge, who tried to cover up his son’s crimes. The author misattributes this heroic story to Judge Bao. 38. Guan Longfeng was the loyal minister of the benighted Jie, the last ruler of the Xia dynasty. 39. Bi Gan was the loyal Shang minister put to death by the tyrant Zhou, last ruler of the Shang dynasty. 40. For the story of Han Xin, see chap. 2, this volume. 41. Shiji 8.381. 42. Literally, “Han Xin was executed, and Peng Yue turned into minced meat” (Shiji 91–92). 43. Shiji 55.2048. Master Red Pine is a legendary figure who achieved immortality. See chap. 2, this volume, n. 48. 44. On Fan Li, see chap. 2, this volume, n. 66. 45. Rush baskets were often used by beggars. 46. The original has “grass chicken” (caoji 草雞), which in certain dialects means “hen.” 47. The term in the text, shuajuan 刷卷 (brush the scrolls), refers to the procedure whereby Yuan commissioners reexamined court cases to prevent delay or the miscarriage of justice. 48. Wang Fenlian’s house is a brothel. The name for “quails,” anchun 鵪鶉, is a homophone for “secret spring” (anchun 暗春) and a close homophone for “unofficial prostitute” (anchang 暗娼). 49. Tounao jiu 投腦酒 (literally, spirits that “throw the brain”) is a potent mix of alcohol with meat and spices. 50. That is, criminals to be executed listed in the “Purple Forbidden City” (Zijin Cheng 紫禁城)—in other words, the capital. 51. Literally, “money for my straw sandals” (caoxie qian 草鞋錢)—that is, compensation for all the distance covered by his straw sandals or for sandals worn out because he had to cover great distance. 52. The front of the stove is where the fire is, but it is at the back of the stove that the food is ready. That is, when dealing with officials, it is always more effective to approach their subordinates. 53. That is, Judge Bao only sits at the yamen, while Zhang Qian acts on his behalf. 54. Wang Qiao or Wangzi Qiao (Prince Qiao) is one of the Daoist immortals; see Liexian zhuan jiaojian, 65–68. 55. Spirit paper money burned as offerings is said to be “golden” but actually has a dull yellow sheen. 56. Liaohua 蓼花 is a flowering plant, and the name may imply someone weak and obliging. The name may also suggest Liao Hua 廖化 (third century), a mediocre Shu general during the Three Kingdoms. 57. “Luck” is literally “the blessings of the Five Elements.” Judge Bao is saying that Liu is lucky to have escaped justice for as long as he did. 58. A place in hell. 59. Ancient Chinese coins had holes, called eyes. 60. Xiao He (d. 193 b.c.e.) was the prime minister under Emperor Gaozu of Han. He was known for his legal expertise (Shiji 53.2014–15). See chap. 2, this volume, n. 9.

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Meng hanqIng Trans laT e d by Jon aTha n Chaves

IntroductIon WaI - yee LI an d Jo n ath a n c h av e s

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nspector Zhang Cleverly Questions the Moheluo Doll (Zhang kongmu zhikan Moheluo 張孔目智勘魔合羅), or, abbreviated, The Moheluo Doll (Moheluo 魔合羅), is the only extant play of Meng Hanqing 孟漢卿 (ca. thirteenth to fourteenth centuries). Apparently the sole biographical fact known about Meng Hanqing is that he came from Bozhou in northern Anhui. Jia Zhongming 賈仲明 (1343–after 1422) mentions his fame and the popularity of his play The Moheluo Doll.1 A comment in Libation credits Meng Hanqing for the intense evocativeness wrought by narrative momentum in his arias.2 Hu Shi 胡適 (1891–1962) suggests that the Chinese Moheluo of the title may be a transliteration of the Sanskrit Mahākāla.3 (The name is also transliterated as Mohele 磨喝樂 or Mohouluo 摩睺羅.) Mahākāla, a name for Shiva, became a “protector of the dharma” (hufa 護法) in Tantric Buddhism. Mahākāla is sometimes described as a fearsome deity of war with eight arms and wearing a necklace made of a poisonous snake and human skulls. By the Song and Yuan dynasties, the term was being applied to something quite different. On the festival of the seventh evening of the seventh month (the Double Seventh), when the Cowherd and Weaving Maid stars are said to meet across the Milky Way, the occasion was celebrated with various competitions and games. Moheluo, a clay or waxen doll in various guises, was used in these

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games and displayed as offerings to the Weaving Maid. The popularity of these dolls in Kaifeng and then in Hangzhou was mentioned in Meng Yuanlao’s Dreaming of Splendors Past: The Eastern Capital, Luo Ye’s 羅燁 (thirteenth century) Conversations of a Drunken Old Man (Zuiweng tanlu 醉翁談錄), and Wu Zimu’s Record of Vain Dreams. According to Meng Yuanlao, several streets in Kaifeng specialized in the sale of these dolls, and some of them were lavishly decorated with gauze, silks, gold, gems, and ivory and could be very expensive. Children would hold lotus leaves in the characteristic pose of Moheluo dolls.4 The aria “Rolling Silken Ball” in act 4 of our play describes the elaborate dress of these dolls. Chen Yuanjing’s 陳元靚 (thirteenth century) Festivals of the Seasons (Suishi guang ji 歲時廣記) also records that while the images were ordinarily made of clay, those presented at the imperial court were made of silver or gold. The description in Festivals of the competitions held with them seems to indicate that their eyes and hands were able to move.5 In songs, plays, and stories, a character is sometimes said to be as handsome or beautiful as “a Moheluo doll.” The aria “Rolling Silken Ball” suggests that girls used these beautiful dolls to “pray for skills” (qiqiao 乞巧) on Double Seventh. It can be seen from the play that the Moheluo images had not entirely lost their original religious significance: Inspector Zhang burns incense before one and prays to it for insight in the case he is attempting to solve. The inspector Zhang Ding has been identified with an eponymous Yuan official.6 According to Yuan History (Yuan shi 元史), the historical Zhang Ding, an upright official, worked under the Uighur Ariq Qaya (1227–1286), who threw in his lot with Kublai Khan around the time of the Mongol conquest of the Song dynasty. Zhang later lost his position because of slander at the Mongol court.7 There is, however, no conclusive evidence for the identification. In this play, Zhang Ding’s title is kongmu 孔目, a yamen officer in charge of documents, accounting, and details of legal procedure.8 Supplicants, yamen aides, or commoners call him “Brother Inspector” (kongmu gege 孔目哥哥), a form of address that indicates that he is not as far above them as, say, the magistrate or the prefect. Unlike the sagacious Judge Bao, who sometimes seems to have preternatural powers, Inspector Zhang is but a shrewd officer who combines good judgment with compassion and sound intuition.9 Another Yuan play featuring him, Zhang Ding of Henan Prefecture Solved the Case of the Head Scarf (Henan fu Zhang Ding kan toujin 河南府張鼎勘頭巾), attributed to Sun Zhongzhang 孫仲章 (late thirteenth century), shares dialogue as well as plot details with the play here: for example, an accidental witness or informant who is first misidentified as culprit and then proves instrumental to the investigation; an object that facilitates the solution of the crime; and Zhang’s position as middleman, which puts him at the mercy of his superior’s punishing deadlines. If Judge Bao in the preceding play underlines his empathy with victims by becoming one in his disguise as a country bumpkin, Zhang Ding, by virtue of his subordinate position, is made to share the plight of the accused by having to prove himself right in order to escape punishment. In both Zhang Ding plays, the magistrate or judge is either corrupt or befuddled even when well intentioned. Zhang Ding as midlevel officer draws attention to

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midlevel abuse in the Chinese courtroom—clerks and officers who are easily bribed and who control the mundane functioning of the legal process. The Yuan Editions version of this play begins with Li Dechang introducing his “family of three,” whereas our play starts with Li Yanshi mentioning his “family of five.” Focus on the patrilineal extended family highlights the fratricidal nature of the conflict. The arias largely overlap, but the variants are also interesting. Two arias describing Li Dechang’s plight as he seeks refuge in a temple and an aria in which Zhang confesses his bafflement are excluded from the play here,10 and the Yuan Editions version concludes with Zhang Ding’s final words on justice, while our play defers to the prefect’s authority by letting him pronounce rewards and punishments. Gao Shan becomes a character only in our play. As peddler and maker of Moheluo dolls, Gao Shan combines lowly status with hypothetical higher powers, inasmuch as even Zhang Ding prays to the pseudodivine image he creates. The comic potential of the scene where Zhang Ding interrogates Gao Shan is realized through Gao’s puns, including one implying the Moheluo maker’s role as creator of another reality (a pun playing on the homophones shisu 實塑 [making models in earnest] and shisu 實訴 [telling the truth]). The Moheluo Doll is mentioned in both The Register of Ghosts and Correct Sounds. It is found in Yuan Editions, Anthology, the Maiwang Studio Collection (a hand-copied manuscript owned by Yu Xiaogu),11 and Libation. This translation is based on the version in Anthology. Significant textual variations are explained in the notes. A translation of this play by J. I. Crump appears, under the title Zhang Ding Cleverly Investigates the Moheluo Doll, in Chinese Theater in the Days of Kublai Khan (1980).

the MoheLuo doLL D r a m at i s P e r s o n a e

Role type Opening Male Male Lead Comic Female Lead Child Extra Clown Comic Zhang Qian Extra Male Lead

Name, social role Li Yanshi, an old man Li Dechang, Li Yanshi’s nephew, a merchant Li Wendao, Li Yanshi’s son, a quack doctor12 Liu Yuniang, Li Dechang’s wife Little Buddha, son of Li Dechang and Liu Yuniang Gao Shan, a peddler Clerk Xiao Magistrate of an unspecified county in Henan Aide of the Magistrate and subsequently of Prefect Wang Prefect Wang (Wanyan) Zhang Ding, a judicial inspector

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We D g e 13

(Opening Male dressed as Li Yanshi enters leading Comic, Li Wendao.) Li Yanshi (recites:) When the moon has passed the fifteenth, its light dims; When a man has reached his middle years, all is done. Sons and grandsons will have to seek their own fortune: Be not for sons and grandsons a slaving beast! I am Li Yanshi. I live here on Vinegar Street, near the Recording Office of Henan Prefecture. I have a family of five, and this one here is my son Li Wendao. I also have a nephew named Li Dechang. His wife is Liu Yuniang. My nephew has a son called Little Buddha. Now trade is taking this nephew to Nanchang, and he told me he would come today and take leave of me. But why hasn’t he shown up yet? (Male Lead dressed as Li Dechang enters with Female Lead and Child.) Li Dechang: I am Li Dechang. This is my wife, Liu Yuniang, and this is my son, Little Buddha. I run a thread shop, and across the way is my uncle Li Yanshi, who has a son named Li Wendao, a doctor. I had an encounter with a fortune-teller here in the market and was told that I would have a hundred-day spell of ill luck, which I could only escape by going one thousand li away. So today I will be, first of all, averting calamity and, second, going to Nanchang to do some buying and selling. Wife, let the three of us go and take our leave of Uncle. Liu Yuniang: Let’s go. Li Dechang (greets Li Yanshi:) Uncle, I will be going to Nanchang on business and to avert ill luck. Today is an auspicious day, so I have especially come to take leave of you respectfully. Li Yanshi: My nephew, certainly you may go: be careful on the road! Li Dechang (to Li Wendao:) Brother, watch over our family affairs! Li Wendao: Elder Brother, come back soon!14 Li Dechang: Uncle, today I will have to set out on a long journey. (They go out the gate.) Liu Yuniang: Husband,15 since you are going off today on business, there is something I would like to say. May I? Li Dechang: What do you wish to say? Liu Yuniang: Your cousin has been flirting with me. Li Dechang (angrily:) Shush! All this time with me at home you said nothing about it. Now that I’m about to leave, you come out with this! Wife, don’t bring it up again; just watch over things at home and be careful. (Sings:) [Xianlü mode: Time to Appreciate Flowers] Because my cousin and you don’t see eye to eye, I must now exhort you to be patient. . . . Liu Yuniang (sadly:) But you will be gone! What am I to do?

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Li Dechang (sings:) Put an end to your worries, Dispel your gloom! Just take care of this family, inside and out. (Speaks:) The rest is unimportant. (Sings:) And you must watch out for the little one. Liu Yuniang: These things I know: I just hope you will prove your mettle. Li Dechang (sings:) [Same tune as above] As a provider, I must strive to prove my mettle, And so I go to other counties, faraway places, to buy and sell. Liu Yuniang: Just return soon. . . . Li Dechang (sings:) Let not your cheeks be streaked with tears: I will not be gone more than a year or six months And will come back once I make some profit. (Exits.) Li Yanshi: Li Wendao, now that your cousin has gone off on a business trip, you shouldn’t go over there on trifling matters. If I find out about it, don’t think I’ll spare you! (Recites:) Brother-in-law and sister-in-law should always be above suspicion,16 All the more so since her husband is on his way to the Southland. If you should go to her house for no good reason, I’ll pay you straight off with thirteen blows!17 (Exit together.)

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Liu Yuniang (enters:) I am Liu Yuniang. My husband, Li Dechang, has gone off to Nanchang on business. Today I’ve nothing important to do: let me just open up this thread shop and see who comes. Li Wendao (enters:) I am Li Wendao. I run a medicine shop, and people all casually call me Doctor Lu’s Rival.18 My cousin Li Dechang has gone off on business leaving behind his wife. I yearn for her with all my heart, but alas! My father has ordered me not to go to her home. But now, going behind my father’s back, I will use the visit as an excuse to try to seduce her. Whether she’s willing or not, I have nothing to lose. . . . Here I am at her door, let me go in. (He greets Liu Yuniang.) Sister-in-law, ever since Elder Brother left, I have not come to visit you. Liu Yuniang: Your brother is away, what business have you coming here? Li Wendao: I just came to see you, have a cup of tea . . . what’s wrong with that? Liu Yuniang: This ne’er-do-well has come with no good intentions! I’ll call his father over—Father!

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Li Yanshi (enters:) Who’s calling me? Liu Yuniang: It is your child. Li Yanshi: Child, why are you calling me? Liu Yuniang: Your son has come over here to flirt with me. That’s why I am calling for you. Li Yanshi (sees Li Wendao:) Why have you come here again!? (Beats him; Li Wendao exits.) If that ne’er-do-well comes again, just call me. Don’t think I’ll spare him! I’m going to beat that profligate right now! (Exits.) Liu Yuniang: How much longer is this going to go on? I’ll close the shop. . . . Oh Li Dechang, when will you return? This is killing me! (Exits.) Li Dechang (enters bearing a shoulder pole:) What a rainstorm! (Sings:) [Xianlü mode: Touching Up Red Lips] The seventh month has just begun; It is early autumn when summer warmth still lingers. With only an unlined robe like this, How can I protect myself from this endless, pouring rain! [River Churning Dragon] A relentless cloudy gray— The lonely wilds, an expanse of watery haze! I only see where rain blurs the peaks And mists lock the azure void! (Speaks:) How big is this rainstorm? (Sings:) The clouds churn deep, as if the Great Eastern Sea is tipping down. The rain crushes down, as if Lake Dongting is folding over. As far as the eyes can see, there’s no place to seek the homeward road. Dark and somber, the clouds blur the fields on every side. In a vast whiteness, water engulfs the long road. (Speaks:) The rain is coming down evermore. (Sings:) [Oily Gourd] It is just like an ink painting of the Rivers Xiao and Xiang;19 This downpour is soaking me through and through! How can I bear the crashing, splashing waves swirling into channels! See how swishing, whooshing water flows along twisting, winding roads, And soughing, whistling winds sway the quaking, quivering trees! What can be done in this shuddering, shivering mud— Let alone the slippery, slithering ooze? Now I go hobbling, tripping along, falling about limply, I slip and stumble, barely keeping my body whole!20 [Joy for All Under Heaven] In all this commotion, the loops for my sandal laces broke:21 Hard it is for me to walk!

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There is nothing left to do But break off my pack rope and tie them anew. So soaked, I cannot raise my head; So tired, I cannot move my feet; So dim-eyed, I cannot see a thing.22 (Speaks:) There is a temple off in the distance. I’ll go in there to escape the rain. (He puts down his pack.) I’ve put down my pack. This turns out to be a temple of the General of Five Paths.23 It has apparently been in a state of disrepair for many years: how mournful it is! (Sings:) [Heaven for the Drunken] A piece of the broken altar props up the temple gate, Wild weeds have grown all over the temple steps. (Speaks:) Oh Lord, General of Five Paths, I am Li Dechang, I am returning from a business trip. Please protect me! (Sings:) Here I will pinch earth for incense, draw a censer on the ground. My worship done, with hurried reverence I look up: Thank you, Spirit, for protecting me. I pray you, My Lord, to point the way with a gold whip. I wish only to return home soon with no mishap. (Speaks:) What a drenching rain! My clothes and baggage are completely soaked. I’ll take off my clothes and try to dry them out. (Sings:) [Helped Home Drunk] Here I wring these unlined trousers, And dry my rain-soaked clothes. (Speaks:) But why is it dripping here? Oh, so this temple has partially collapsed, that’s why it is dripping like this. Let me look at my baggage. (Sings:) I only fear the oilcloth covering my baggage is leaking somewhere: I had better inspect it from top to bottom: (Speaks:) Happily it has not been dampened. But, oh, why is it dripping so hard here? (Sings:) How strange that two or three wipes will not dry this brow of mine. (Speaks:) But what is this! You fool! What are you worried about? (Sings:) You forgot to take off your dripping head scarf ! (Speaks:) Let me take off these clothes and dry them out. (He takes them off.) I’ll just go out of the temple and take a look at the weather. (He goes out.) Oh! How come I am getting feverish? What is to be done? (Sings:) [One Half]24 It is just as if a fawn were butting inside my breast Or a ball of fire burning my vital organs. (Speaks:) Perhaps my impure body has offended the deity? I pray you to point the way with a golden whip and protect me with your merciful hand! (Sings:) Perchance my rank smell and foul filthiness Have offended you, My Lord. (Speaks:)

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Li Dechang, you are mistaken! Since he is a deity, he is bound to overlook the offenses of us mortal creatures! (Sings:) I had better reconsider. (Speaks:) I have figured out this illness: (Sings:) Probably this was half from the wind, half from the rain. (Speaks:) If only someone would come and I could send a message to my wife, asking her to come and see me. (Extra dressed as Gao Shan enters bearing a shoulder pole with goods.) Gao Shan: Oh, what pouring rain! Let me go into this temple of the General of Five Paths and get shelter. (He puts down his shoulder pole and goods.) I am Gao Shan, I come from Longmen-zhen and I have a family of two: myself and my wife. Every year when the seventh day of the seventh month comes around, I enter the city to sell a load of Moheluo dolls. As soon as I came out the gate, clouds gathered on all four sides and it was just splashing like a basin or a pitcher being turned over. That wife of mine has made me use two pieces of oiled paper, otherwise everything would have been spoiled! Let me look. . . . Thank heaven and earth! Not a single one is broken! This drum is the very source of my clothing and food! Now because of the rain the skin has loosened. But when I shake it, it still sounds! Li Dechang: Isn’t this someone who has come? A wonderful surprise! (Sings:) [Flowers in a Golden Cup]25 It is pouring down uncommonly hard, But suddenly I hear something that unfurls my troubled brow: Isn’t he somewhere in the darkness slowly rattling his snakeskin drum? I come out and look around: Perhaps he is adept and clever And will quickly hatch a plan to help! He sells waxen hairpins for adorning the head, Bone combs for holding down hair. He has those clay dolls for prayers on Double Seventh, And a riddle gourd for whiling away the nights.26 (Li Dechang tugs at Gao Shan and bows to him.) Li Dechang: Old man, I reverently bow down to you. Gao Shan: Ah, there’s a ghost!! Li Dechang: I am not a ghost. I am a man. Gao Shan: You are a man and you pull such tricks? You should have called out to me so I would know you were a man! But you suddenly pulled at me and bowed before me. This is an ancient temple with no one around. Luckily it was I, but if it were anyone else, wouldn’t you have scared him to death? (He grabs a handful of earth.) Li Dechang: What are you doing? Gao Shan: You frightened me so that my skull is split open!27 Li Dechang: Old man, I also am a merchant. Come in and sit down a while.

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Gao Shan: All right, I’ll sit with you a while. Why are you tying up your headcloth? Li Dechang: Old man, I am escaping the rain in this temple; I took off my clothes too soon and have caught chills and a fever. Where are you going now? Gao Shan: I’m going into town on business. Li Dechang: Old man, would you carry a message for me? Gao Shan: My good fellow, I have made three vows: first, not to act as a go-between for anyone; second, not to be guarantor for anyone; third, not to carry messages for anyone. Li Dechang: I live on Vinegar Street in the prefectural city of Henan. My name is Li Dechang, and I have a family of three. My wife is named Liu Yuniang and my son, Little Buddha. I went to Nanchang on business, and now I have made profits a hundredfold. . . . Gao Shan (getting up:) Stop, stop, stop! . . . (He goes out and looks around.) If there is anyone here who wants to escape the rain, come in and we can chat together: anyone here? (He returns to greet Li Dechang.) What a fellow you are! Who asked you? And yet you came out with such a statement! Supposing there had been someone listening, he could have designs on your property and could have killed you! Your life would have ended in vain! Do you know who I am? Well is it said, In painting a tiger you can paint the fur but hard it is to paint the bones; In knowing a man you can know the face, but hard it is to know the heart. Li Dechang: How could there be a thief in this place? Old man, I have caught a fever and cannot get up. I only hope you will take a message to my wife and tell her to come see me. If you refuse to take this message, and if something happens to me, it will be you who will have caused me to die. Gao Shan: He is asking for a favor but he knew how to get me cornered! Today I will break my vow and carry this message of yours. Where do you live? What sort of shop front is it? Who are your neighbors? Tell me clearly, and take care to nurse your illness. Li Dechang (sings:) [Flowers in the Rear Courtyard] My home has a new wooden threshold, And we live in two sets of tallish, tile-roofed rooms. Right next door is a shop selling cooked food; Across the way, there is a medicine shop. But if you should be confused and lost, Just ask where the thread shop of Li Dechang is, And anyone there will let you know. Gao Shan: I got it: rest assured! Li Dechang: Old man, keep this in mind, and you must make this visit. (Sings:) [Coda] You must remember this well, And you should not have any doubts.

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It’s not that I wish to pile request upon request, But alas! I am so ill I can hardly move. Ask them to borrow a horse or seek a donkey: just do not delay, Alas! If only I had paper or brush! It can’t be helped— How can I write the two words “All’s well”?28 Old man, so long as you do not tarry And tell my wife, And have her come soon to aid this sick man. . . . (Exits.) Gao Shan: I come out the temple gate and the rain has stopped! Let me go into town to sell Moheluo dolls and deliver this message for Li Dechang. (Exits.)

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Li Wendao (enters:) I am Li Wendao. Today I have nothing better to do, so I will go to the front of my medicine shop and see who may come. Gao Shan (enters:) I am Gao Shan. I’ve arrived here in the prefectural city of Henan, but I don’t know where Vinegar Street is. Let me put down my pack and try asking someone. (Greets Li Wendao:) My good fellow, may I ask where Vinegar Street is? Li Wendao: Why do you ask? Gao Shan: There is this Li Dechang who came back from a business trip to Nanchang. His profits increased a hundredfold. Right now he has taken till at the temple of the General of Five Paths south of the city, and he sent me to carry a message to his home. Li Wendao (aside:) Super! (Out loud:) Old man, this is Lesser Vinegar Street; there is also a Greater Vinegar Street. You aim east but go west, aim south but go north, turn a bend and there before a gate is a large locust tree and a tall house with red-painted doorway, green-painted window, and a mottled bamboo curtain hung from the doorway. Beneath the curtain, a Pekingese dog will be lying there. That is Li Dechang’s home. Gao Shan: Thank you, good fellow! (He picks up the pole with his pack and walks.) That fellow told me to aim east but go west, aim south but go north, turn a bend and there before a gate would be a big locust tree and a tall house with red-painted doorway, green-painted window, and a mottled bamboo curtain hanging there with a Pekingese dog lying under it: if the dog has gone away, how will I be able to find the place? (Exits.) Li Wendao: Well is it said If a man has a strong wish, Heaven will certainly grant it. Now he has become ill. I won’t let his wife find out, but I’ll take this poison, go outside the city, and kill him with it! Then his wife will be mine, and his money and

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goods will be mine. Just because of my conscience, heaven is giving me half a bowl of rice to eat!29 (Exits.) Liu Yuniang (enters with Little Buddha:) I am Liu Yuniang. Ever since my husband, Li Dechang, left for Nanchang on business, I have received no news at all of him. Today I’ll open our shop and see who shows up. Gao Shan (enters:) I’ve walked myself to death! That knavish son of a . . . He said there was also a Greater Vinegar Street: where haven’t I gone! (Puts down his pack.) I’ll take that ass of a rogue . . . It turns out that there was only this Vinegar Street, and he made me walk all around the city wall while all the time it was right here! Liu Yuniang (comes out and sees him:) You old man! Don’t you know anything! What are you doing loitering around the door where people do business? Gao Shan: Just look at my luck! First that whoreson fooled me into walking all day, and now this woman is scolding me! Oh Gao Shan, you have only yourself to blame: if from the beginning you had refused to convey a message for Li Dechang, you might have been spared this trouble! Liu Yuniang: You old man, where did you see Li Dechang? Please come in and have some tea! Gao Shan: But I’ll disrupt your business. . . . Liu Yuniang: Old man, where did you see Li Dechang? Gao Shan: I suppose you are Liu Yuniang? Liu Yuniang: I am. Gao Shan: And I presume this child is Little Buddha? Liu Yuniang: Precisely, old man, how do you know? Gao Shan: Madam, right now Li Dechang is taken ill in the temple of the General of Five Paths outside the city. He has made profits a hundredfold. Quickly find some beast and bring him back! Liu Yuniang: We are so grateful to you! Wait till Li Dechang comes home, and we will make sure to thank you properly. Little Buddha: Mama, I want a Moheluo. Liu Yuniang (beats Little Buddha:) Little spendthrift! We don’t even have enough to buy food—where would we get the money? Gao Shan: Don’t beat the child! I’ll give him a Moheluo. Keep it carefully; don’t break it. Below there is my name inscribed: “Made by Gao Shan.” When your father comes home and sees this Moheluo, it will count as evidence that I did bring the message! (Exits.) Liu Yuniang: Who would have thought Li Dechang would be taken ill at the temple of the General of Five Paths? I’ll leave the child with a neighbor, lock the place up, borrow a horse, and go see Li Dechang. (Exits.) Li Dechang (enters in a sickly state:) Since I returned from Nanchang, I’ve been ill with a fever and can’t get up. I begged Gao Shan to carry a message for me, asking my wife to come and see me, but why hasn’t she shown up? Li Dechang, this is truly

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a case of “timing, fate, and luck” conspiring together: indeed these are not empty words! (Sings:) [Huangzhong mode: Drunk in the Shadows of Flowers] I stuck to my trade, and profit was great in Nanchang; I hastened to return, but illness soon had me in its evil grasp! Longing for home—so close yet it seems as far as heaven; How anxious this makes me! Unable to keep down the fawn butting in my chest— This is indeed hardest to endure. Just this headache Is enough to split open my head any moment. [Happy Orioles Flying High] Oh, who will come to cure me? But there is no one: the old temple is so desolate. And I consider: what if some evil man should come? My worries can’t help but multiply, And I can’t help the tears raining down! Flitting, flitting, my soul departs in fright and my courage sinks, Pounding, pounding, my flesh trembles, and my body shakes. [Leaving the Ranks] Symptoms that send me topsy-turvy, Make me wonder all the more: One moment all is dark, and my stomach aches as if an awl were piercing it; One moment all is hot, and I burn as if a fire were flaming. One moment all is chill, and I get ever colder, as if ice water were poured on me. (Speaks:) Oh my wife, where are you? (Sings:) [Ground-Sweeping Wind] Anxiously I yearn for wife and son, but no news has come. Consumed by concern, the itching in my heart is hard to slake! (Speaks:) I’ll go out the temple gateway and look around. (Sings:) Slowly, slowly I come out from the temple, Raise my eyes, and furtively look around. For you I will walk down the fretted stairs, Stand under the eaves. . . . Suddenly I feel dizzy, fight for breath, and grab at the door. I thought it was tightly closed, But it turned out to be not quite bolted. As I lean against the door, It opens with a creak; I wobble and down I crash!

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[Fourth Door] Just as the fierce frost singles out the withered grass, Alas! So the fall has struck my already ailing body. One moment in pain, all anxious the next: I wonder whether the money was too much for my luck. One moment in pain, all anxious the next: I will pray to this god. Li Wendao (enters hurriedly:) I’ve arrived at this temple. Elder Brother, where are you? (Li Dechang greets him.) Li Dechang (sings:) [Ancient Water Sprite] Oh, oh, oh, suddenly I see him! Ah, ah, ah, scaring me till my soul seems to melt! Take, take, take this paper money under cover! Close, close, close to the clay god I press. Fast, fast, fast, I’ll hide here myself.30 Li Wendao: I’ve come to see you, Elder Brother. Receive the salutations of your younger brother! Li Dechang (sings:) He, he, he, comes over, striding and standing tall. I, I, I, go forward and carefully discern his face. Yes! Yes! Yes! This is the brother from whom I parted, now in fine form. Please, please, please, do not bow, Li Wendao. (Speaks:) Brother, since I returned from Nanchang, I’ve been feverish and cannot return home. Where is my wife? Li Wendao: She is coming soon. Elder Brother, how long have you had this illness? Li Dechang (sings:) [Song of the Fort] It could be last night Or this morning— When a cold wind and hot dampness first came over me. Li Wendao: Let me feel your pulse. (Feels his pulse.) Elder Brother: I know this illness and I have brought the medicine for it. (Mixes medicine and administers it to Li Dechang.) Li Dechang: Just wait, Brother. When my wife comes, I’ll take it. Li Wendao: Don’t wait for her. You will get better right away if you take this. (Li Dechang swallows it, sings:) I’ve swallowed it down: Burning oil seems to be pouring on me, Fuming, it scorches my Five Organs, Flaming, it consumes my Three Points.31(Speaks:)

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Brother (sings:) This cannot be medicine for fever or chill? [Depending on the Gods] He mixed it with water there, I dashed it right down, And suddenly now I have lost my bearing. He has foully poisoned me and I have fallen. Smoke arises from the Seven Holes,32 Ice invades the four extremities. Who could have thought his smiles hid a sword? I can see that I shall perish in the wilds. (Falls down.) Li Wendao: The poison got him. I’ll collect the goods and go home. (Exits.) Li Dechang (sings:) [Higher by the Level]33 This rogue is good at harming others and profiting himself; He is going against the way of the gods! The money and goods did not even amount to much; He could have asked for them openly. But how could he bear to cut short his elder brother’s life? His greed is great, His love for me, slight. What a shameful contrast to Guan Zhong and Bao Shuya,34 who share their gold! [Zhelagu]35 With my body in the clutches of this illness, I cannot run, cannot escape. With my throat contracted by the poison, I cannot cry, cannot yell. May azure heaven secretly make this known! May the deity soon repay it! Do good and receive good; Evil deeds have ill returns. Heavens! Isn’t this the year when I would court calamity! [Hanging a Golden Rope] I thought he was curing my fever and chills: Who would have thought he was secretly giving me poison? And now he has taken my life and plotted for money; Truly I have been keeping a traitor in our midst! No wonder when he came He did not bring his own sister-in-law! This will be told for ten thousand generations, And would have invited the scorn of Guan Yu and Zhang Fei!36

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[Coda] All my jewels and money— None of it is left. Holding the loot tight, he has spirited it away on horseback. (Lies down below the altar.) Liu Yuniang (enters:) I am here already. I have dismounted from this horse and entered this temple: but why don’t I see my husband? Oh, here he is below the altar. His illness is serious! (Helps him up.) Husband, get on the horse and let’s go home! (Exits.) Liu Yuniang (enters in an agitated state:) Who would have thought that when my husband got home, fresh blood would gush from all Seven Holes and he would die! I must find my brother-in-law and let him know so we can decide what to do. (Calls Li Wendao.) Brother-in-law! Li Wendao (enters:) This woman is scared and is calling me. Sister-in-law, why are you calling me? Liu Yuniang: Your elder brother has come home. Li Wendao: Ask him to come out! Liu Yuniang: When he got home, he was bleeding from his Seven Holes and he died. Li Wendao: So my brother died! This much is obvious: he went off on business, you had a paramour in the house, and when you saw Elder Brother return, you and your lover plotted to murder him with poison. Liu Yuniang: But we have been husband and wife since our youth! How could I poison him? Li Wendao: My elder brother has died! Do you want an official settlement or a private settlement? Liu Yuniang: What is an official settlement and what is a private settlement? Li Wendao: For an official settlement, I would lay a plaint before the magistrate, and you would pay for my brother’s death with your life! For a private settlement, just marry me! Liu Yuniang: What kind of talk is that! I would rather die than become your wife! Li Wendao: All right, let’s go to court. Liu Yuniang: I’m quite willing to go to court. Oh Li Dechang, this is killing me! (Li Wendao drags her off; exit.) (Comic dressed as Magistrate enters with Zhang Qian.) Magistrate (recites:) I am an official who loves only money. Plaintiff and defendant: both must pay! If my superiors should come my cases to review, They’d beat me in the hall till like a pig I squeal!37 I am the magistrate of Henan prefecture. Today I will hold court early. Zhang Qian, see if there are any who have cases to present, and if so, have them come in.

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Zhang Qian: Understood! Li Wendao (enters with Liu Yuniang:) Think it over. . . . Liu Yuniang: I only want to go to court with you. Li Wendao: All right, let’s go to court. . . . I have a grievance! Magistrate: Bring them in! Zhang Qian: Come before His Honor! (Magistrate kneels down before them) Zhang Qian: Sir, they are bringing a case to court. Why do you kneel down before them? Magistrate: Don’t you know? Those who bring cases to us are the wherewithal of our food and clothing, our father and mother. (Zhang Qian orders Liu Yuniang to kneel down.) What case do you two have? Li Wendao: I am a native of this place, with a family of five. This is my sister-in-law. I am Li Wendao. I had an elder brother, Li Dechang, who went off to Nanchang on business. He came back with profits a hundredfold. On the day he came home, my sister-in-law, who had been keeping a lover at home, concocted poison with his help and killed her own husband. May you, sir, have pity on me and seek redress for this grievance! Magistrate: Let me ask you: has your elder brother died? Li Wendao: He has. Magistrate: If he’s dead, why are you bothering to bring the case? Zhang Qian: Sir, please set this right for him. Magistrate: How can I set it right? Get the clerk for me. Zhang Qian: Where are you, clerk? (Clown dressed as Clerk enters.) Clerk (recites:) The magistrate is pure as water, The clerk is white as dough. Mix water and dough into batter: Result, a lump of messy glue! Your humble servant is Clerk Xiao. Just as I was sorting out documents in the office, I heard a great commotion. I reckoned it must be that His Honor is unable to put together the case judgment, so let me go and check. (He sees the plaintiff.) This chap! Now where have I seen him before? Oh yes, he is that Doctor Lu’s Rival. Yesterday when I passed by his house, I tried to borrow a stool from his shop, and he wouldn’t even let me have it. And now he too has to come to our yamen! Zhang Qian, take him down and beat him! (Zhang Qian takes down Li Wendao, who holds out three fingers.) Li Wendao: Clerk, I’ll give you this. Clerk: Two of your fingers seem to be paralyzed. Li Wendao: Sir, set this thing right for me! Clerk: I understand, don’t say any more. What’s the case? Who is the plaintiff ?

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Li Wendao: I am the plaintiff. Clerk: If you are the plaintiff, let’s hear your statement. Li Wendao: I, Li Wendao, am a native of this place. I had an elder brother, Li Dechang, who went off to Nanchang on business. He came home with profits a hundredfold. My sister-in-law had a lover, and they concocted poison and killed my elder brother with it. Please, sir, redress this grievance for me! Clerk: Is this true? Put your signature to it. Zhang Qian, bring forward that woman. Woman, why did you poison your husband? Confess the truth! Liu Yuniang: Sir, have pity on me! I am Liu Yuniang. My husband was Li Dechang. He returned from a business trip to Nanchang and became ill in the temple of the General of Five Paths outside the city. I got a horse and rode straight to the temple. I spoke to him, but he didn’t answer. By the time we got home, fresh blood gushed from his Seven Holes. Suddenly his breathing stopped and he died. When I called my brother-in-law here to ask him about it, he said I had a lover. Li Dechang and I had been husband and wife since our youth: how could I poison him? Sir, I have no lover! Clerk: If you don’t beat them, they won’t confess. Zhang Qian, beat her for me! (Zhang Qian beats her.) You should confess! Liu Yuniang: I have no lover. Clerk: If you don’t beat them, they won’t confess. Zhang Qian, beat her some more! (Zhang Qian beats her some more.) Liu Yuniang: Stop, stop, stop! If I don’t confess, how can I bear this beating? Let me just muddle through a confession: it was I who murdered my husband by poisoning him. Magistrate: Don’t confess! If you confess, you’re dead! Clerk: Since she has already confessed, bring the cangue and put it on her: throw her in the cell for the condemned! Magistrate: Zhang Qian, bring the cangue and put it on her. Zhang Qian: The cangue is on her now. Down to the cell for the condemned! Liu Yuniang: Heavens! Who will take up my case and avenge this injustice? (Exits.) Magistrate: Clerk, come here. Just now that man stretched out his fingers; how many taels of silver did he promise you? Tell me the truth. Clerk: I won’t fool you. He promised five taels. Magistrate: You’d better give me two of them. (Exit together.)

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(Extra dressed as Prefect enters with Zhang Qian.) Prefect (recites:) Corrupt officials ride fat horses and hold purple silken reins; Dishonest clerks wear spring garments trailing the ground.

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Whose fault is it that crops are destroyed? Who sends wind and rain to ruin farms and mulberries? I am a Jurchen of Wanyan lineage. The Wanyans became Wangs, the Puchas became Lis.38 From my youth I have studied books, and later I had military training. Since my grandfather had many meritorious accomplishments, his descendants for many generations have inherited positions and have become officials and generals. Here in Henan the officials are corrupt and the clerks are crooks, and they frequently wrong good people. Our sage emperor has personally appointed me prefect, and, because I cast out the deviant and hold to the just, by imperial order I am bestowed with the ordinance sword and the golden tablet, so that I can “execute first and report to the throne later.” I have been in this post for three days: today I will ascend the hall and hold court early. Why don’t I see the clerk in charge of cases? Zhang Qian: Clerk, His Honor is calling you. Clerk (enters:) Here, here! (Clerk greets Prefect.) Prefect: You are the clerk? Clerk: I am. Prefect: Then listen. Because you Henan officials and clerks are all corrupt and dishonest, by imperial order I am bestowed with the ordinance sword and the golden tablet, so that I can “execute first and report to the throne later.” If there should be the least iota of error in your cases, I will exercise this authority and first cut off your own donkey head! If there are any documents to be endorsed, bring them and I’ll sign. Clerk: Here, here, here . . . just have a look at this one, Your Honor. Prefect (looks at it:) What case is this? Clerk: This is the case of Liu Yuniang who poisoned and killed her husband. Her confession states this to be true. We only need you to put down the judgment: “Behead.” Prefect: If Liu Yuniang on account of adultery poisoned and murdered her husband, this is one of the Ten Major Crimes. Why didn’t the former official finish the case off himself ? Clerk: We’ve been awaiting your arrival, sir. Prefect: Where is the criminal whose sentence is awaiting approval? Clerk: She is in the cell for the condemned. Prefect: Bring her here: I’ll reinterrogate her. Clerk: Zhang Qian, go to the jail and bring out Liu Yuniang! Zhang Qian: Understood! Liu Yuniang (is brought in:) What, sir, are you calling me for? Zhang Qian: You must go to see His Honor. Clerk: Woman, now a new official has taken up his post. When he interrogates you, say nothing! If you say anything untoward, I’ll beat you to death! Zhang Qian, take her up to the hall. Zhang Qian: Come before him, woman! (Liu Yuniang kneels.)

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Prefect: Is this the woman whose sentence awaits approval? Clerk: It is she. Prefect: Are you Liu Yuniang? Why did you commit adultery and poison your husband? I fear the former official might have made an error and you still have something more to say. Tell me the truth and I’ll seek justice for you. Liu Yuniang: I have no statement to make. Prefect: Since this criminal has no statement to make, what is the use of further interrogation? Bring a brush and I’ll put down the judgment, “Behead.” Then you’ll take her out to the marketplace and execute her. (Zhang Qian takes her out.) Liu Yuniang: Oh heavens! Who will seek justice for me? (Exits.) (Male Lead dressed as Zhang Ding enters.) Zhang Ding: I am Zhang Ding, and my style name is Pingshu. Here in Henan I am judicial inspector, and I supervise the affairs of the Six Bureaus. I have just returned from a trip to speed the plow following the command of His Honor. Today he is ascending the hall and holding court, and he is endorsing several cases awaiting his signature. When I think about how clerks twist things around to make the crooked seem straight and play around with the letter of the law to pervert rules, it is obvious that this brush has sent many to wrongful deaths. (Sings:) [Shang mode: Gathering Fine Guests] For some time there has been mischief in the Office of Law; For me here, arranging signatures took me out of the courtroom. Now again I am responsible for public and private gain or loss,39 And my brush tip will determine life and death. I examine the case of an estranged wife, Doing evil and acting wrong, And the case of an unfilial son, Drifting along and chasing vanities. But then I also, on the prefect’s request, oversee the Six Bureaus. Where there is a case, How dare I be careless? But now I hear the beating of the courtroom drum, And the cries that start today’s business. [Joy of Freedom] I raise my head and look around: The officials have all ascended the hall; All is silence, as if they are listening to a sermon. Hurriedly I set my clothes aright, And while walking I inspect them all. I see a fearsome officer like a tiger or wolf, Pushing along a condemned woman. I only see her sad brows and weeping eyes.

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She bears a lock and carries the cangue: Could this be a land dispute or fight over mulberries? (Speaks:) Beyond the wall of the Main Hall I see a sentenced woman: I don’t know why. . . . How sad she seems! (Sings:) [Scent of Golden Chrysanthemums] I only see clammy blood staining her old clothes. Her body must be all scarred, covered with fresh sores from the rod. How can she bear, on top of it all, the cangue for the condemned crushing her back! She cranes her white neck: Heartbroken, her tears stream down. (Speaks:) Just look at that condemned woman! She must have been wrongly accused! Bearing cangue and lock, her tears continue to stream down. The ancients have said, “To judge a person, there is nothing better than observing his eyes. The eyes cannot hide his evil.”40 They have also said, “Observe his words and examine his conduct. Judge his crime and determine the correction.”41 (Sings:) [Vinegar Gourd] Carefully I have watched her a while, Clearly I have observed for some time. I see that, suffering injustice, she must hide her thoughts within.42 Oh, woman, how did you get so caught in this web of injustice That now you must carry the cangue and feel the rod? Stop, stop, stop! Don’t you know that your effort will be in vain!43 [Same tune as above] I have here slowly turned two corridors, With deliberate steps I have come to the main hall.44 There she is, weeping and pouring forth her feelings; For my part, twice or thrice I try to be evasive and ignore her. . . . Zhang Qian: Liu Yuniang, tell this inspector about it; he will seek redress for you. Liu Yuniang (clutches the clothes of Zhang Ding:) Sir, help me! Zhang Ding (sings:) She is tightly grabbing my clothes and won’t let go: I have no choice but to talk this over with her! Zhang Qian, tell that woman to come before me properly; let me question her. Zhang Qian: Liu Yuniang, come forward. (Liu Yuniang kneels.) Zhang Ding: Woman, let me hear your statement. Liu Yuniang (makes her statement:)45 Sir, do not be angry, And I’ll tell you everything from the beginning. Li Dechang had left to avoid bad luck,

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And his business in Nanchang brought a tidy profit. He came to a temple and rested because of his fatigue, But unexpectedly he was taken ill. We got him home: fresh blood was gushing from all Seven Holes, And I knew he had somehow taken poison. As soon as we entered the gate, he died right away; I was so frightened I called my brother-in-law. He said that I had secretly been keeping a lover, And that we had poisoned my husband. Who knows how it all happened: dragged to court, I was beaten endlessly. I am but a woman: How could I endure this repeated interrogation and torture? And so I, all confused, signed a false confession. Li Dechang and I had been husband and wife since such a young age, How could I have acted so vilely? My brother-in-law, Li Wendao, had secretly hatched this plot: Truly I have been wronged. Zhang Ding: Woman, I will appeal to the prefect on your behalf. If he approves, don’t rejoice yet; if he disapproves, don’t be worried. Zhang Qian, just stay the execution. Zhang Qian: Understood! Zhang Ding (greets Prefect:) Sir, this humble servant is Zhang Ding. I have just returned from a trip to speed the plow in the country, and I’ve heard that you had ascended the hall and were holding court. There are a few documents to be endorsed: please sign them. Prefect: This is Judicial Inspector Zhang Ding, a very capable official. Tell me, are there any affairs that should be looked into? (Zhang Ding hands over some documents.) What documents are these? Zhang Ding (sings:) [Scent of Golden Chrysanthemums] This is a closed case about a robbery; we retrieved and reviewed the loot. This is a concluded investigation about the illegal trade of tea and salt.46 All these are cases that should come under our jurisdiction. This is a newly arrived official tally; This, a case of granary goods to be sent far away. Prefect: What document is this? Zhang Ding (sings:) [Vinegar Gourd] This one is on building bridges along the Canal. This one is on setting up granaries in keeping with towns.

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This one is on Wang Shou and Chen Li owing rent on their land; This one is on Zhang Qian beating Li Wan and wounding him. (Speaks:) Concerned that Your Honor may not trust me, (sings:) I have called them to match their confessions with the case statements. This one is on Wang, née Zhang, cursing her neighbors again and again. Prefect: Aren’t there any more documents? Zhang Ding: Sir, there are not. Prefect: We will have the officers dispense sentences for them all. Zhang Ding, I grant to you ten excuse slips and a ten-day holiday. After this holiday, report back to duty. Zhang Ding: Thank you, sir! (Exits.) Zhang Qian: Inspector, did you discuss that affair? Zhang Ding: Oh, I forgot about it! (Sings:) [Same tune as above] It was not that official duties kept me too busy, But somehow my mind was confused. Had this been a matter of great concern, My negligence would have brought disaster. Such a limited number of cases, And I could not remember. Little wonder that men of exalted rank are forgetful. Oh Zhang Qian, Tell her to wait a while and not be anxious. (Speaks:) All I did was make my report and I forgot this. Let me go again to His Honor and speak about it. Zhang Qian: Sir, take pity on her and speak on her behalf ! (Zhang Ding returns to Prefect.) Prefect: Zhang Ding, what have you returned to say? Zhang Ding: Your Honor, just now when I left the yamen, I saw beyond the wall of the Main Hall a condemned woman bemoaning injustice. Those who know the case would think that she simply longs for life and fears death, but those who don’t might think that there was a miscarriage of justice in our yamen. Your Honor, please give this your consideration. Prefect: This affair was settled under the previous official with Clerk Xiao in charge. Zhang Ding: Clerk Xiao, I am the judicial inspector who oversees the Six Bureaus. This is a case of life and death—why didn’t you tell me about it? Clerk: You had gone to the country to speed the plow. Suppose you didn’t return for one whole year; was I then, too, to wait for you? Zhang Ding: Bring the deposition here for me to see. Clerk: Here, look for yourself. Zhang Ding (reads:) “The undersigned is Liu Yuniang, thirty-five years of age. She came from a family properly registered in the city registry of Henan prefecture as

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eligible for conscript service. Her husband, Li Dechang, went on a business trip to Nanchang with ten ingots of silver as capital. For a year after he left there was no news of him. Then, in the seventh month, a man of unknown surname brought a message to the effect that he was suffering from illness in the temple of the General of Five Paths and could not move. When Yuniang heard this, she immediately hired a horse, went straight to that temple south of the city, and, supporting him, brought him home. Once he entered the gate, he stopped breathing and fresh blood gushed from the Seven Holes. Yuniang immediately reported this to her brother-in-law, Li Wendao. This brother-in-law said that Yuniang and a lover had plotted together to concoct poison to murder her husband. This confession is all truthful; there was no fabrication.” Your Honor, this deposition is no good. Clerk: What cannot be bought cannot be any good! Zhang Ding: This case is like a house without supporting walls on four sides. . . . Clerk: His Honor is holding court in open air! Zhang Ding: And there are holes all over the roof. Clerk: The rats have been gnawing it through! Zhang Ding: If Your Honor does not believe me, let me take time to explain. Prefect: Go ahead, I will listen. Zhang Ding: “The undersigned is Liu Yuniang, thirty-five years of age. She came from a family properly registered in the city registry of Henan prefecture as eligible for conscript service. Her husband, Li Dechang, went on a business trip to Nanchang with ten ingots of silver as capital.” These ten ingots: have they been confiscated by the government? Or by the relatives of the deceased? Clerk: They have not. Zhang Ding: We will let that pass. “For a year after he left there was no news of him. Then, in the seventh month, a man of unknown surname brought a message . . .” Your Honor, this man who brought the message: how old was he? Has he ever been summoned before the court? Clerk: We have not summoned him. Zhang Ding: If he was never summoned, how could you interrogate him? It goes on: “. . . to the effect that he was suffering from illness in the temple of the General of Five Paths and could not move. When Yuniang heard this, she immediately hired a horse, went straight to that temple south of the city, and, supporting him, brought him home. When he entered the gateway, he stopped breathing and fresh blood flowed from the Seven Holes. Yuniang immediately reported this to her brother-in-law, Li Wendao, and he said that Yuniang and a lover had plotted together . . .” Your Honor, was this lover named Zhang, Li, Zhao, or Wang? Has he ever been brought before the court? Clerk: If there was no lover, then I did it myself ! Zhang Ding (reads:) “. . . to concoct poison to murder her husband.” Your Honor, in whose home was this poison concocted? That poison must have been prepared somehow.

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Clerk: If no one concocted that poison, then it must also have been me! Zhang Ding: Your Honor, just think: there is no silver, no messenger, no lover, no preparer of the poison, and no collaborator: if all these people are nonexistent, how can you execute this woman? Prefect: Clerk Xiao, Zhang Ding says this case is no good. Clerk: Inspector Zhang, you are overreaching: what business is it of yours? Zhang Ding: Clerk Xiao, let me tell you: a human life concerns heaven and earth. It is not a mere trifle. The ancients have said, “For a prisoner in jail, a day is longer than three years.” Outside, the body suffers; inside, the heart is tortured. He is beaten or caned, driven away or sent into exile. The official who administers punishment must carefully examine the case. Rewards and punishments represent the authority of the state. Joy and anger are the common emotions of man. Do not, because of joy, increase the reward, nor should you, because of anger, increase the punishment. Even when you increase rewards because of joy, you may regret it later. How much more momentous then if you should increase punishments because of anger! How about the wrongful end of a human life! Truly, “Only when the frost came down did they know the suffering of the chaste wife; only when the snow flew was the injustice done to Dou E made known.”47 (Sings:) [Same tune as above] Indeed the one serving as official had a nature too unyielding, But you, as clerk, had a vision too blinding. So this case adds up to little sense. How could they not have sought the man who brought the message? And they did not even have the confession of the lover! (Speaks:) Your Honor, consider (sings:) How could you, with this unresolved muddle, push her onto the executioner’s block?48 Clerk: Sir, Zhang Ding is castigating Your Honor as muddleheaded! Prefect: Zhang Ding, who is muddleheaded? Clerk: Zhang Ding says Your Honor is muddleheaded! Prefect: Zhang Ding, who is muddleheaded? Zhang Ding (kneels:) How dare I? Prefect: Zhang Ding, this case of Liu Yuniang killing her husband on account of adultery was settled by my predecessor. Any errors must be the responsibility of Clerk Xiao: how could you say I am muddleheaded? I have been in office here for only three days. You accused me of being muddleheaded, but I was not an official here before! You! Come forward! I hand this affair over to you, and within three days you had better settle it; if you don’t settle it, don’t think I’ll spare you punishment! Alas! (Recites:) You unreasonable, devious rogue of an officer! You are totally intent on riding roughshod over me!

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Liu Yuniang killed her husband because of adultery: My predecessor had closed the case with summary. But you say the document has flaws, And that deception in it gives you pause. Was the mixer of the poison Li Fourth or Zhang Third? Was the lover Zhao Second or Wang the Elder? And what was the name of that messenger? And were the conspirators many or few? You did not let me, as your superior, investigate, So I will let you your own case create. Whom are you yelling at so loud? And in a public manner truly uncowed? I hand over this case to you, Giving you three days to get through. You are to examine and interrogate, And on no account from the law deviate! If you settle this well, I will write a memorial on your behalf, Send it by post horse To the capital, to the emperor, Who will handsomely reward and promote you. But if you fail, You who seem to rival Sui He and Lu Jia in eloquence49 As you confront those of eminence Overturning old cases, seeing relevance— I’ll knock right off that cursed50 monkey head of yours, And you’ll taste the bronze blade of my glinting ordinance sword! (Exits.) Clerk: Anyway, you are so bullheaded, perhaps you won’t mind trying out that bronze blade! Doesn’t even matter to you! (Recites:) Even when he can stop with impunity, he will not stop, But insists on reviewing the death sentence, with time limit atop. Truly, Arguments for right and wrong arise because he talks too much, All his troubles come from sticking out his neck as such! (Exits.) Zhang Ding: Oh Zhang Ding, this is all your own fault! (Sings:) [Flowers in the Rear Courtyard]51 I have taken on this unclear, nasty case, And today I will the cause of the innocent embrace. You must have received some bribe, Clerk Xiao, And so sent her to her death, this Liu Yuniang. I consider the case with care:

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The prefect wants a clear resolution. When a man is killed, you want to see his wound; When a man is robbed, you want to see the loot; When there is adultery, you want to see the pair. How can I question them all? [Pair of Wild Geese] For no rhyme or reason I muddled my way to a tight spot. I was about to decline when I had already taken it up. Now I have three days’ time, like the flipping of a hand! How can I not worry even if I don’t want to worry? How can I not be in a flurry even if I don’t want to be in a flurry? (Speaks:) Zhang Qian, put Liu Yuniang in the cell for the condemned. Zhang Qian: Understood! Zhang Ding (sings:) [Coda in the Waves] There is no basis to Yuniang’s crime, But Clerk Xiao’s ability with words is prime. I’ve taken on the arena of right and wrong, injustice in full breadth— The case of Li Dechang who left home and suffered a foul death. I’ll find out how he met his end, I’ll so deal that the innocent go free, the guilty pay! (Exits.)

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Zhang Ding (enters:) I am Zhang Ding. By His Honor’s exalted order, I have been given three days to solve this case. If I am successful, I will be rewarded; if not, I will have to pay with my life for Liu Yuniang. Oh Zhang Ding, this is all your own fault! (Sings:) [Zhonglü mode: Powdered Butterflies] Until my investigation reveals who the villain is, I will be so upset that my vital organs will be torn, Forgetting sleep and food, depressed and careworn. How can I get to the bottom of this? Hard to settle Are the fine points of this case. With all my wits, I will steps and plots trace. [Intoxicating Spring Wind] With the best of intention I exhorted him, But in return I am saddled with an impossible charge.

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The mouth has always been the gateway of calamity! Zhang Ding! Now you are sorry! You must make the ten thousand laws clear, And absolve all those who are innocent. All will depend on your undimmed conscience. (Speaks:) Zhang Qian, bring in that Liu Yuniang! Zhang Qian: Understood! Come before the court, woman! (Liu Yuniang kneels.) Zhang Ding (sings:) [Sounds of Shouting] Yamen officers like tigers and wolves With all their might push her down to kneel before the steps! I only see her silent rancor as she swallows her sobs and lowers her head. (Speaks:) Zhang Qian, loosen her cangue. Zhang Qian: Understood! (He takes off her cangue; Liu Yuniang gets up and bows.) Liu Yuniang: Thank you, Inspector! In a day or two, I’ll send you a box of sesame cakes. (Starts to go out.) Zhang Ding: Where are you going? If you go, I must pay for your husband’s life! Liu Yuniang: I thought I was released. Zhang Ding: Woman, give your deposition. If you speak truthfully, there will be no further trouble. If you speak falsely . . . Zhang Qian, prepare the large rod! (Sings:) [Happy That Spring Is Coming] You say you have been wronged and have suffered all too much. Then who was it that plotted to murder and steal? If I beat you till skin breaks and flesh splits, you’ll be sorry too late! It’s not that I am trumping up accusations: Just speak up now and all will be well. Liu Yuniang: Brother Inspector, no matter how hard you beat me, it will only be another false confession. Zhang Ding (sings:) [Red Embroidered Shoes] I have received a strict time limit: Only three days. Just now you have been prevaricating again and again: That will only invite more rounds of torture and interrogation. I have heard you out, But there is not the least bit of facts! How can you expect to get by me? [Welcome the Immortal] When we put on the finger press,52 We first soak the hempen cudgel,53

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And increase the force of the blows; You will become purple and blue, Green and red! You will vainly have brought the stick upon yourself: You may then be sorry, but wouldn’t it be too late? Liu Yuniang: Beat me as hard as you like; it will only be another false confession. Zhang Ding (sings:) [White Crane] You say that if you die it will but be a wrongful death, Yet stubbornly you refuse to tell the truth. (Speaks:) I won’t ask you anything else, but (sings:) When you left the city, what was your big idea? When he died on entering the gate, what was the cause? (Speaks:) Woman, I ask you (sings:) [Same tune as above] Did he not have some new business partner?54 Liu Yuniang: I don’t know. Zhang Ding (sings:) Or was there an old friend sharing tea and drinks from time past? How did he send letters home? How did he send news? Liu Yuniang: Brother Inspector, I have forgotten that man! Zhang Ding: Come forward and I’ll work out a description of him for you. Liu Yuniang: It was so long ago! I’ve forgotten. . . . Zhang Ding (sings:) [Same tune as above] Was he tall or short? Thin or fat? Was he dark or sallow of complexion? With a beard and mustache or without? Liu Yuniang: I am beginning to remember a little . . . Zhang Ding: What luck! Confucius has said, “Look at whom he befriends, observe why he acts, examine wherewith he finds peace of mind. How can a person be hidden?”55 (Sings:) [Same tune as above]56 Wait till we figure out the whereabouts of the villain, And fully figure out the details of the case. Alas, how can this not torture me till my temples turn gray Or trouble me till my heart is broken in pieces! (Speaks:) Woman! (Sings:) [Same tune as above]

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Does he not live east of the small lane, Is his family not west of that broad street? What hamlet is he from, what village? What are his surname and his given name? (Speaks:) I will ask you again (sings:) [Same tune as above] Does he sell fried noodles or festival food? Or cut out bolts of cloth for autumn garments? I ask you: on what account did he leave his home? For what reason did he come to town? (Speaks:) Zhang Qian, what day is tomorrow? Zhang Qian: Tomorrow is the seventh day of the seventh month. Liu Yuniang: Brother Inspector, I recall now! Last year precisely on the Double Seventh, there was a vendor of Moheluo dolls who brought the message. And he gave us a Moheluo! Zhang Ding: Woman, do you still have that Moheluo? Where is it? Liu Yuniang: We left it on the nook shelf in my house. Zhang Ding: Zhang Qian, get it for me! Zhang Qian: Understood! (He goes out.) I go out the gate, come to Vinegar Street, and inquire: this is Liu Yuniang’s house. I open the gate, and on the nook shelf is this Moheluo. I pick it up, go out the gate, and come to the yamen. Brother Inspector, isn’t this the Moheluo? Zhang Ding: It certainly is! Zhang Qian, bring incense. Moheluo, who was it that plotted to steal and murder? How is it that Li Dechang died as soon as he entered his gate? Tell me! (Sings:) [Sounds of Shouting] You have taught foolish children, So much so that foolish hearts become wise. If you explain this unjust case To the inspector, [Intoxicating Spring Wind] Will it not be better than teaching little girls how to practice sewing, Or urging young ladies to learn embroidery? To clear this serious case of an unjustly accused person, Moheluo, this rests entirely with you, with you. If you can free this wronged woman, I will have people offer sacrifice to you: How much better than being a child’s toy! (Speaks:) Moheluo, speak: how can you remain silent! Recall how a dog once saved his master by dampening the grass57 and a horse repaid his master by dangling his reins.58 If mere animals can act like this, how much more should you! Since you have people light

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fires and burn incense for you, why shouldn’t you manifest your spiritual powers? Have compassion on wronged souls and point out the person who plotted to steal and murder! (Sings:) [Rolling Silken Ball] Let us paint your dark eyebrows, arched and curving; We put on your red robe, wide and flowing. Bright and shiny are your phoenix crown and rainbow cape. Why are you so finely arrayed? When you get to Double Seventh, The supplicants for skills Adore you as a bringer of joy to all. You should then display your power, Do all the things we ask. If you can show your tapered fingers59 threading needles, Why can’t you open your red lips and tell right from wrong, So that generations hence will know of your deed? (Speaks:) Moheluo! Who killed Li Dechang? Tell me! (Sings:) [If a Scholar] Vainly were you made like the image of Guanyin. Why don’t you have any of her compassionate countenance? And all for nothing did I question you, You are not giving me any reply. I shall examine you all over, Looking carefully from top to bottom. (Zhang Ding sees characters:) There it is! [Barbarous Aunt] I thought he was somewhere else, But from the first he was right here. Who would have thought that below the base was hidden the murderer! I call for my men: Come up the steps! Who knows this Gao Shan here? (Speaks:) Zhang Qian, do you know Gao Shan? Zhang Qian: I do. Zhang Ding: Bring him here, beating him every step of the way! Zhang Qian: Understood! I am coming out of the yamen, let me look around. Gao Shan (enters:) I’ll enter the city to collect what people owe me for my Moheluos. Zhang Qian (apprehends him:) Walk faster! They’re awaiting you in the yamen! Gao Shan: Ah! You’re beating me to death! (Gao Shan appears before Zhang Ding and kneels.)

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Zhang Ding: Are you this Gao Shan? Gao Shan: I am none other—but I don’t know what I am guilty of, that this fellow should beat me, as fast as flowing water, all the way! Zhang Ding: Old man, have you ever carried a message for anyone? Gao Shan: From my youth I have stuck to three vows: first, not to act as a go-between for anyone; second, not to be guarantor for anyone; third, not to carry messages for anyone. I have never carried any message. Zhang Ding: Have this old man sign the confession. Gao Shan: I have never carried any message; what confession am I to sign? Zhang Ding: Old man, by whom was this Moheluo made? Gao Shan: It was made by me. Zhang Ding: Bring out that woman! Liu Yuniang (greets Gao Shan:) Old man, do you recognize me? Gao Shan: You, lady, are you not Liu Yuniang? How is that husband of yours? Liu Yuniang: Li Dechang is dead! Gao Shan: Dead? He was a good man! Zhang Ding: What is all this that you have never carried a message? Gao Shan: I just carried one this single time. Zhang Ding: Old man! How did you plot to murder Li Dechang and take his money? Confess the truth! Gao Shan (making his statement:)60 Listen to me as I speak the truth in every detail. Brother Inspector, consider this carefully. Last year when the Double Seventh came around, I came to the city to make a living. Arriving at the temple of the General of Five Paths south of the city, I quickly pressed my palms together to pay my respects. Suddenly I came upon this Li Dechang, Who was just then taken ill in the temple. Weeping and crying, he implored me, And so I carried a message for him. This was the only time in my life I ever broke my vows; Who would have thought that, having come home, he could not be saved? In my pack I have nothing but Moheluos: I haven’t a pinch of arsenic or an inch of iron. How can you grab a peddler making his rounds in towns and villages And wrongly accuse him of being a rogue plotting to steal and murder! Zhang Ding: Old man, tell me the truth. Gao Shan: That one in front is wearing a phoenix-wing helmet on his head and chain mail on his body. He holds a sword in his hand. That one toward the left chamber is wearing a black hat and a green gown. He is holding a brush in his hand and some

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papers under his arm. The one to the right has a bluish face with fangs and reddish hair. In his hand he is holding a wolf-tooth cane. Zhang Ding: But those are all clay images! Gao Shan: You told me to “make models in earnest.”61 Zhang Ding: Zhang Qian, beat this old man for me. (Zhang Qian beats Gao Shan.) (Sings:) [Happy Three] The Moheluo was made by you, Gao Shan is your name. Today with the loot we seized the thief, who else can you blame? How can you persist in your stubborn retorts! [Old Man Bao] You must have poisoned the husband, And implicated his wife. Oh! You know well these false pretenses and base tricks!62 But if you toss a tile up to the sky, How can you expect it there to stay? Ah! Now the tile has fallen on solid ground!63 We don’t want your falsehoods and lies, None of the fakery Spewed by your crafty lips and artful tongue! I want you to tell the truth from the start, Spare no detail, leave nothing unsaid, And give a truthful deposition. Gao Shan: Brother Inspector, it’s nothing to draw up a deposition: I’ll even draw a lifesize picture of myself for you!64 (He signs the deposition.) Zhang Ding: Old man, come forward and I’ll question you. (Sings:) [Ghosts on the Third Terrace] Back then when you delivered the message for him, Whom did you meet on the road? Gao Shan: I met no one. Zhang Ding: Old man, by the time you went to see Liu Yuniang, didn’t you first see someone else in the city? Gao Shan: I remember! When I entered the city, I pissed! Zhang Ding: Who asked you about that! Gao Shan: When I entered the city, I questioned someone. There was a tortoise shell hanging from his doorway. Zhang Ding: That would have been a turtle shell. Gao Shan: That turtle really choked me!65 Before his gate there was also a stone boat. Zhang Ding: That would have been a stone mill.

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Gao Shan: If I were milled by it, it would pulverize all my bones! I saw that someone was sitting inside: that rascal was a vet. Zhang Ding: Could he have been a doctor? Gao Shan: He was a vet! Zhang Ding: How did you know that he was a veterinarian? Gao Shan: If he weren’t a vet, how could he have acted like such an ass? He was called—er—Doctor Lu’s Rival. Zhang Ding: Liu Yuniang, do you know this Doctor Lu’s Rival? Liu Yuniang: He is my brother-in-law. Zhang Ding: Are you two on friendly terms? Liu Yuniang: We are not! Zhang Ding (sings:) Since I am done listening to them, My worries dissolve, And my joy mounts. Finally the case is clear. Call in my men! Let me ask you: Who among you knows this doctor? (Speaks:) Zhang Qian, give this old man eighty strokes because he should not have made Moheluos. Beat him! Zhang Qian (beats him:) Sixty . . . seventy . . . eighty! Carry him off ! Gao Shan: Why did you give me those eighty strokes? Zhang Qian: Because you should not have made Moheluos. Gao Shan: If I got eighty blows for making Moheluos, I suppose my head would have to be chopped off for making a Vajrapāṇi?66(Exits.) Zhang Ding: Zhang Qian, put Liu Yuniang in another room and summon Doctor Lu’s Rival for me. Zhang Qian: I am going out of the yamen and here is his house. Is Doctor Lu’s Rival at home? Li Wendao (enters:) Who is calling? I’ll open the door and see. Sir, why do you call me? Zhang Qian: I am Zhang Qian of the yamen. Brother Inspector is asking for you. Li Wendao: I’ll go with you. Zhang Qian: Here we are. I’ll go in first. (Reports to Zhang Ding.) Doctor Lu’s Rival has arrived! Zhang Ding: Bring him in. Li Wendao (greets Zhang Ding:) Brother Inspector, why have you called me? Zhang Ding: Her Ladyship, Prefect Wang’s wife, is suffering from an illness. Here are five taels of silver as payment for medicine: don’t consider it too meager! Li Wendao: What medicine do you want?

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Zhang Ding (sings:) [Trimming a Silver Lamp] She is not afflicted with any disease of long standing, But indulgence in cold food has affected her digestion. I think that your restorative potion should be enough to make her well: Just add some fuzi and danggui.67 Li Wendao: I’ve brought the medicine with me. Take it and give it to Her Ladyship. Zhang Qian: Give it to me: I’ll take it. (He takes the medicine and returns to Zhang Ding; Zhang Ding whispers in his ear.) Zhang Ding: Zhang Qian, check how Her Ladyship is doing after taking the medicine. Zhang Qian: Understood! (He exits, reenters.) Brother Inspector, after Her Ladyship took the medicine, fresh blood gushed from all Seven Holes and she died! Zhang Ding: Doctor Lu’s Rival, did you hear that? After Her Ladyship took the medicine, fresh blood gushed from all Seven Holes and she died! Li Wendao (frightened:) Brother Inspector, save me! Zhang Ding: Let’s say if I clear you now, who’s there in your family? Li Wendao: I have my father. Zhang Ding: How old is he? Li Wendao: My father is eighty. Zhang Ding: Punishment is not inflicted on the old; they can buy their way out. Doctor Lu’s Rival, if you will give up your father and let him take the blame, I’ll clear you. If you won’t, I can’t clear you. Li Wendao: Thank you, Elder Brother! Zhang Ding: Let me explain. When I say, “Doctor Lu’s Rival?” You say, “Your humble servant is here!” When I ask, “Who concocted the poison?” You say, “It was my father.” When I ask, “Whose idea was it?” You say, “It was my father’s.” When I ask, “Who took the silver?” You say, “It was my father.” When I say, “It wasn’t you?” You say, “It had nothing to do with your humble servant.” Only if you talk like this can I clear you. Li Wendao: Thank you, Elder Brother! Zhang Ding: Zhang Qian, put him in the office. Bring that old man here, beating him every step of the way. (Sings:) I myself will interrogate that old man and get to the truth. (Speaks:) Zhang Qian! (Sings:) Say only this: “Someone has come to lay a plaint against you.” [Mustard Green] Just say there is a new official, Zhang, reviewing cases, And he is relentlessly pursuing you. Say that you are to call him here fast as fire. But if he should in the least disobey, You should put him right off into a jail cell!

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Zhang Qian: I am going out this gate. . . . Is old Li at home? Li Yanshi (enters:) Who is calling me? Zhang Qian: They are calling you at the yamen. Li Yanshi: I’ll go with you. (Appears before Zhang Ding.) Why have you called me? Zhang Ding: Old man, someone has laid a plaint against you. Li Yanshi: Who has laid a plaint against me? What crime have I committed? Zhang Ding: It is your son, Li Wendao, who has laid a plaint against you. If you don’t believe this, you will recognize his voice. (Sings:) [End of the West of the River] Who is charging you before the court? It is that son of yours, filial like Zeng Shen,68 Doctor Lu’s Rival! Nor was he recently adopted, But is your very own flesh and blood! Ah! Old man, how could he do such a thing without any reason! Li Yanshi: I don’t believe this. Where is Li Wendao? Zhang Ding: If you don’t believe, just listen to me call him: Doctor Lu’s Rival! Li Wendao: Your humble servant is here! Zhang Ding: Who concocted the poison? Li Wendao: My father. Zhang Ding: Whose idea was it? Li Wendao: My father’s. Zhang Ding: Who took the silver? Li Wendao: My father. Zhang Ding: Who did it all? Li Wendao: It had nothing to do with me; my father did it all. Zhang Ding: Old man, quickly tell me the truth. Li Yanshi: Sir, he did it all. How can he push it off on me? Zhang Ding: Since it was he who did it, sign here. (Li Yanshi signs his name.) Zhang Qian: He has signed his name. I’ll open this door. Li Yanshi (beats Li Wendao:) It was you who murdered your elder brother with poison, it was you who plotted to steal his money, and you who tried to force your sisterin-law to marry you to “settle the affair privately”! It was all your doing! It was all your doing! Li Wendao: No! My confession was about the affair of poisoning Her Ladyship. Li Yanshi: Oh! I just confessed about the affair of your poisoning of your elder brother! Li Wendao: You confessed! That’s the death of me! You old whoreson! Zhang Ding (sings:) [Willow Green Girl] With just a few ploys and insights, I fooled the ignorant old man.

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No matter how you may regret a thousand, ten thousand times over, What way is there to scoop up spilled water? He is so frightened: his face is dry yellow like clay! Isn’t there a saying that goes, “Once the word is said, Even a team of four horses cannot catch up with it!” Already he has confessed: It cannot be changed. Just bear the blame! [Speak of Making Peace] Only now the truth is known, the truth is known: False things cannot be passed off as true. How very convoluted— Even I, even I had trouble getting to the bottom of the affair, And I got all entangled, with responsibility I could not escape! I used my wits To coax out what is right and wrong. It’s hard to evade me, Hard to confront me! Hard to explain, Hard to tell the difference! Now with everything I am happy, Because I was clever, Each will get his just deserts. If there were no, if there were no heavenly justice, I would have gotten to the three days’ limit, And surely I would have been the first to taste that ordinance sword! All of you without exception: follow me to see His Honor! Prefect (enters:) Zhang Ding, how has the investigation gone? Zhang Ding: The case is solved. Please hand down the judgment. Prefect: I already know the case full well. All of you listen to my judgment: The local official and clerk were derelict. They will be given one hundred strokes and barred from office. Li Yanshi fails to manage his household properly, and is sentenced to eighty strokes. But since he is old, he may buy out with money. Liu Yuniang was wronged and suffered torture and interrogation; we will request imperial recognition honoring her and her family. Li Wendao murdered his elder brother and will be taken to the marketplace and beheaded. I shall amply reward Zhang Ding with my own stipend for the next three months. (Recites:) By imperial decree you will be rewarded and promoted, Inspector Zhang, controller of punishments! Liu Yuniang’s innocence is made clear; She will guard the family property,

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And her house will be honored by imperial recognition. The ruthless rogue who ruins cardinal ties and corrupts morals Will be marched to the marketplace and receive supreme punishment. Liu Yuniang (bows:) Thank you, Your Honor! Zhang Ding (sings:) [Coda]69 Consider that brothers should be close to one another like hands and feet: How could he have spawned the idea of taking his brother’s life? I shall have the murderer beheaded at the Yunyang execution ground, To propitiate the ghost of his grossly wronged brother.

Topic: Li Wendao Poisons and Murders His Elder Brother; Secretary Xiao Secretly Receives a Handsome Bribe Title: Old Man Gao Submits to Unjust Treatment at Henan Prefecture; Zhang Pingshu Cleverly Questions Moheluo

n ot es 1. 2. 3. 4. 5.

6. 7. 8.

9.

10. 11.

12.

Zhong Sicheng, Lugui bu, 150–51. Meng Chengshun, Meng Chengshun ji, 586. Hu Shi, “Moheluo.” Meng Yuanlao, Dongjing Menghua lu 8.215. See Chen Yuanjing, Suishi guangji 36.302–3. Moheluo dolls are also mentioned in another Yuan play, Ma Danying Thrice Delivered Madman Ren (Ma Danyang sandu Ren Fengzi 馬丹陽三度任風子) by Ma Zhiyuan 馬致遠 (ca. 1250–ca. 1324), which is included in both Yuan Editions and Anthology. See Xiao Wangqing’s annotations in Zang Maoxun, YQX, 7:3463; Gu Xuejie, Yuanren zaju xuan, 289. Song Lian (1310–1381) et al., Yuanshi 10.202. According to Hu Sansheng’s 胡三省 (1230–1302) annotations in Zizhi tongjian 資治通鑑, the title kongmu arose in the Tang dynasty. It means that “every detail [literally, each hole and each entry] had to pass through his hand” (yan yikong yimu jie xu jingyou qi shou ye 言一孔一目，皆須經由其手也) (Sima Guang et al., Zizhi tongjian 216.6905). Zhang Ding is able to intuitively grasp a person’s character by evaluating his appearance. References in the play to passages from Analects (Lunyu zhushu 2.10) and Mencius (Mengzi zhushu 7.15) confirm this “hermeneutics of deportment”; see, following, n. 41. “Song of the God Nezha” and “Sparrow on a Branch” in act 1, “Older Version of Old Man Bao” in act 4. Zang Maoxun, YQX, 7:3461–3505; Xu Qinjun, Xin jiao Yuan kan zaju sanshi zhong, 2:412–35. In the version in the Maiwang Studio Collection, Zhao Qimei’s corrections on the chaoben are dated 1617. Another collector used the Yuan Editions to revise the chaoben in 1725. His name is Li Wenduo in Yuan Editions.

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13. In Ancient Masters, the wedge is part of act 1. 14. Paternal cousins address one another as “Brother.” 15. Here Liu Yuniang calls her husband Li Da, Li the Eldest, according to Li’s ranking in his generation in the patrilineal system. 16. Ritual propriety dictates that brother-in-law and sister-in-law should keep a proper distance. 17. According to Song codes, one of the levels of punishment involved thirteen strokes of the cane and then exile. See Jiao Xun (1763–1820), Jushuo, juan 2, 42–43. 18. The famous Warring States physician Bian Que made his home at Lu 盧 (present-day Shandong), so the name Doctor Lu’s Rival 賽盧醫 (Sai Luyi) is supposedly a compliment meaning “Bian Que’s rival.” However, in Yuan drama, the name plays on the pun of Lu 盧 for lü 驢 (ass) and means “quack doctor.” (The villain in The Injustice Done to Dou E by Guan Hanqing is also called Doctor Lu’s Rival.) Later Gao Shan remarks, “If he weren’t a vet, how could he have acted like such an ass? He was called . . . Doctor Lu’s Rival [Rival of an Ass of a Doctor].” 19. The Song painter Song Di (eleventh century) is famous for his misty scenes of the Rivers Xiao and Xiang. The line in Yuan Editions is more vivid: “It is as if I were painted into an ink painting of the Rivers Xiao and Xiang!” 20. This aria employs many unusual onomatopoeic descriptions. 21. The word for “sandals” or “shoes” (xie 鞋) is homophonous with that for “child” (hai 孩) in some southern dialects. The original text reads (nonsensically:) “My sandals are weaned [or quit nursing]” (Xie’er duanle ru 鞋兒斷了乳): the word for “milk” (ru 乳) and that for “loop” or “ear” (er 耳) are close homophones in some dialects, so the line “the loops for my sandals broke” phonetically suggests “my children are weaned.” Yuan Editions has rui instead of ru—rui (literally, “pistils”) may simply refer to the laces on the sandals. 22. In Yuan Editions, this is followed by two arias describing how Li Dechang, in great distress and confusion, finds refuge in a temple. 23. This is the God of the Eastern Peak (Dongyue), who is supposed to control life and death. 24. The tune title in Yuan Editions is “Thinking of the Prince.” 25. The tune title in Yuan Editions is “Golden Cup.” 26. It is not clear what kind of toy the “riddle gourd” (men hulu 悶葫蘆) is, but it probably involves some sort of guessing game. 27. According to folk belief, a child’s skull, being not fully formed, will split open if the child is in a state of shock. One can temper the shock and ameliorate the condition by rubbing earth on the head. Gao Shan is of course too old for such a remedy, and the gesture is intended as comic relief. 28. Yuan Editions: “And there is no brush or paper here— / But since you are going, what need is there for a letter?” 29. A formula often used by criminals in Yuan plays. 30. Yuan Editions: “Quietly, quietly, quietly he chose to hide himself.” 31. The “Five Organs” (wuzang 五臟) are the heart, liver, lung, stomach, and kidneys. The “Three Points” (sanjiao 三焦) refer to the upper opening of the stomach, the lower limit of the stomach, and the upper limit of the bladder. 32. The “Seven Holes,” or Seven Apertures, of the human body are the eyes, ears, nostrils, and mouth. A flow of blood from all seven was believed to be a symptom of fatal poisoning. 33. The tune title in Yuan Editions is “Welcoming the Drums in the Village.” 34. Bao Shuya and Guan Zhong served rival princes in the state of Qi. Bao’s prince became Lord Huan and made Bao prime minister. He declined the post, however, and generously recommended his friend to serve in his stead. Later, Guan Zhong helped to make Lord Huan the overlord (ba 霸) among rulers of various domains (Shiji 62).

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35. This is probably a transliteration of a Jurchen or Mongol word. 36. The brotherhood of Liu Bei, Guan Yu, and Zhang Fei during the third century, celebrated in The Romance of the Three Kingdoms (Sanguo yanyi 三國演義), becomes the exemplar of loyalty and fraternal bonds. 37. The original has “cry like a chicken.” 38. On the Jurchens, see chap. 6, this volume, p. 234. Many Jurchens took Chinese surnames. 39. Yuan Editions: “And now I am responsible for the gain and loss of officials.” 40. Mengzi zhushu 7.15. 41. See Lunyu zhushu 2.10: “Look at whom he befriends, observe why he acts, examine wherewith he finds peace of mind. How can a person be hidden? How can a person be hidden?” Mengzi zhushu 7.15: “Listen to his words, observe his eyes. How can a person be hidden?” 42. Yuan Editions: “In that refusal to walk are wrongs secretly hidden.” 43. Yuan Editions: “This does not concern you—all efforts to listen and draw attention will be vain!” 44. Yuan Editions: “As in a distance she stands facing the eastern wall.” 45. Parts of the following statement rhyme in the original. 46. On the Yuan government monopoly over the trade of tea and salt, see Song Lian et al., Yuanshi 94.2386. 47. In the famous Yuan play The Injustice Done to Dou E, her wrongful death causes snow to fall in midsummer. 48. The original text has “Yunyang.” Yunyang is typically used especially in fiction and drama to refer to an execution ground. 49. Both Sui He (see chap. 2, this volume, n. 71) and Lu Jia were early Han ministers known for their eloquence (Shiji 91.97). 50. The original has chiwabulahai 赤瓦不剌海, which commentators identify as a Jurchen curse word meaning “deserving punishment.” 51. This and the next aria are not found in Yuan Editions. 52. The “finger press” is a notorious method of torture that involves applying pressure to the fingers of the accused through little wooden sticks pulled by strings. 53. The cudgel is bound with hempen ropes first soaked in cold water. 54. Yuan Editions: “Was the one who brought the letter his new business partner?” 55. Lunyu zhushu 2.10; see, following, n. 41. Zhang Ding may be referring to how the messenger’s identity will be revealed or how he can judge Liu Yuniang’s character. 56. The order of this aria and the following is reversed in Yuan Editions. 57. According to a story in Gan Bao, Soushen ji (juan 20), a man in drunken slumber is saved from a fire that has ignited in dry grass by his dog Black Dragon, which jumps into a nearby stream, moistens its entire body, and then shakes itself out on the grass. It goes back and forth many times, dousing the fire and saving his master, and finally dies from exhaustion. See Wang Genlin, Han Wei Liuchao biji xiaoshuo daguan, 432–33. 58. When the general Fu Jian (338–385) is pursued by his enemy Murong Chong, he falls into a river. His horse dangles the reins and then kneels down so that Fu Jian can get hold of them and pull himself out of the river (Yiyuan 異苑, included in Taiping yulan 69.455a, 897.4115a). 59. The text has “jade bamboo shoots,” a conventional way of referring to a woman’s shapely fingers. 60. Like Liu Yuniang’s statement earlier, these lines rhyme in the original. 61. The words for “to tell the truth” (shisu 實訴) and “to make models in earnest” (shisu 實塑) are homophonic. 62. Literally, “the stratagem of dragging the sword” (tuodaoji 拖刀計), that is, a person who pretends to be running away in defeat so that he can turn the sword on those pursuing him. 63. Zhang Ding is saying that he will get to the truth of the matter.

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64. What Gao Shan offers to draw is a “life-size picture” (dengshen tu 等身圖), the Buddhist term for deities drawn to human scale. Gao Shan is saying that he has nothing to hide. 65. Gao Shan is punning on bie 鱉 (turtle) and bie 憋 (suppressed; choking back words). 66. Vajrapāṇi, Sanskrit name of one of the four guardians (jingang 金剛) of Buddhist temples. 67. Fuzi 附子 (Radix aconiti lateralis, monkshood root) is said to stop swelling and improve circulation. Danggui 當歸 (Radix angelicae sinensis, Chinese angelica) is supposed to cure anemia and regulate menstruation. 68. Zeng Shen, a disciple of Confucius’s, is known for his filial piety. 69. Yuan Editions: “Secret words in the human realm: / Heaven hears them, clear as thunder. / I urge you not to deceive heaven and the gods. / Indeed the difference is just between retribution that comes sooner or later!”

Folly and ConsequenCes

5 t H e e a s t e r n Hall e lder

qIn JIanFu Trans laTed by ro berT e. Hegel a n d Wa i -yee li

IntroduCtIon Wa I- yee lI an d r o b e rt e. H e g e l

t

he Eastern Hall Elder Reforms a Prodigal Son (Dongtang lao quan pojia zidi 東堂老勸破家子弟), with the short title The Eastern Hall Elder, is one of three extant plays by Qin Jianfu 秦簡夫 (fl. 1320). Little is known about Qin beyond the fact that he was a native of Dadu (Beijing), moved to Hangzhou in his later years, and enjoyed considerable fame as a playwright. A comment in Libation commends Qin for his “everyday language” (jiachang yu 家常語), which is in some ways harder to achieve than romantic or elegant diction. Jia Zhongming describes Qin’s plays as “authoritative writings that offer judgments and set rules” (guanyang wenzhang you shenggui 官樣文章有繩規); Libation also compares The Eastern Hall Elder to exhortations like the genre of “family admonitions” (jia 家 戒) and Han Yu’s 韓愈 (768–824) “Disquisition on the Progress of Learning” ( Jinxue jie 進學解).1 Indeed, Qin’s extant plays all deal with moral choices and feature exaggerated moral exemplars. If the Eastern Hall Elder is the ideal friend, then the mother of Tao Kan in Mother Tao of Jin Cuts Her Hair to Entertain Her Son’s Guest (Jin Tao mu jianfa dai bin 晉陶母剪髮待賓) is the perfect mother, and Zhao Li in Zhao Li Vies to Offer Himself as Victim on Yiqiu Mountain (Yiqiushan Zhao Li rang fei 宜秋山趙禮讓肥) is the ultimate embodiment of fraternal devotion and filial piety. Discipline and punishment are vital for correcting errant conduct, and the stern but ultimately forgiving Eastern Hall Elder has his counterpart in the severe but loving mother of Tao

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Kan. Mother Tao and Zhao Li were adapted, respectively, from Tao Kan’s biography in Jin shu 晉書 and from Zhao Xiao’s biography in Hou Hanshu 後漢書. The redemption of the prodigal son is a common theme in Yuan drama; another famous example is Woman Yang Kills a Dog to Remonstrate with Her Husband (Yangshi nü shagou quanfu 楊氏女殺狗勸夫), which is included in both Anthology and the Maiwang Studio Collection and which also exists as a longer southern play (nanxi 南戲) from the fourteenth century. False friends—named Liu Longqing and Hu Zichuan in both cases—pervert normative relationships.2 In Woman Yang, Liu and Hu displace a real brother; in The Eastern Hall Elder, they challenge the authority of the actual and the surrogate fathers. The wastrel’s wife plays a corrective role in both plays, but much more prominently in Woman Yang. In both cases, deception and trickery facilitate the prodigal son’s redemption by exposing the betrayals of the false friends. What makes The Eastern Hall Elder special is its exaggeration. A comic farce, the dialogue strays into racy language, puts literary allusions into the mouths of the street-smart, and provides an incongruous happy ending: after a period of reform—performed at rapid speed—the erstwhile wastrel is rewarded with the return of all his lost property by the Elder, who has patiently prepared for this eventuality. Despite his change of heart, “Yangzhou Rascal,” for whom we are given no other name, remains delightfully obtuse throughout. Elder’s own, hardworking son, by contrast, receives no such reward for his efforts. The moral authority of the Eastern Hall Elder is buttressed by his references to Confucian learning, which he emphasizes in his self-introduction. He often quotes Confucian classics and historical examples. His title as “retired scholar” (jushi 居士) also imparts an aura of philosophical understanding: a measure of disengagement establishes his lack of self-interest in his endeavor to reform Yangzhou Rascal. There are also grander echoes of historical figures such as the Duke of Zhou (ca. 1100 b.c.e.), younger brother of King Wu who conquered Shang and uncle and regent of the young King Cheng.3 Tradition has it that before King Cheng came of age, rumors were rife that the Duke of Zhou was taking over the reins of power to serve his own ambitions. Here there may be similar suspicions of the Elder’s self-interest when he buys Yangzhou Rascal’s mansion. As in the case of the Duke of Zhou, the Elder is vindicated by the final revelation of his intentions. For all the implicit references to Confucian moral order and historical exemplars, however, the Elder is driven primarily by the merchant’s ethos of hard work, bold moves, and shrewd investment. One may say that he undertakes the duties of the ideal friend and perfect surrogate father by relying on his mercantile skills. He gives a stirring description of how he built his fortune at the beginning of act 2. His ultimate goal of protecting the Zhao family fortune requires him to drive a hard bargain when Yangzhou Rascal sells his house, for the latter fritters away the proceeds in no time, just as he expected. For Yangzhou Rascal, reformation means that he gets to know the value of money, to practice frugality, and to learn the secrets of commerce, as when he doubles his miniscule capital selling charcoal and vegetables. It is also noteworthy that the arena where the wastrel indulges his wayward passions is the kind of pleasure quarters wherein Yuan plays thrived—the place where the

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line between singing girl and prostitute, actress and courtesan was thin and shifting. The singing girls and courtesans that become heroines in many Yuan plays are here referred to as bawds and whores. Some Yuan plays romanticize the encounters in the world of the pleasure quarters,4 but here Qin takes up, perhaps playfully, a stern moral tone that condemns “brothels and theaters,” the social context of dramatic entertainment. But it is perhaps a gesture of negation that ultimately amounts to self-justification, since drama can now claim the function of moral instruction—at least ostensibly. Our play is mentioned in both Registry of Ghosts and Correct Sounds and is found in Anthology, the zaju anthology compiled by Xijizi in the Maiwang Studio Collection, and Libation.5 Our translation is based on the version in Anthology. Significant textual variations are explained in the notes.

tHe eastern Hall elder D r a m at i s P e r s o n a e

Role type Opening Male Comic Female Lead Male Lead Comic Comic Clown Young Male Old Lady Neighbors

Name, social role Zhao Guoqi, a dying merchant Yangzhou Rascal, spendthrift son of Zhao Guoqi Cuige, virtuous wife of Yangzhou Rascal Eastern Hall Elder, Zhao’s neighbor and guardian for Rascal; real name Li Shi or Li Maoqing Liu Longqing, local scoundrel Hu Ziquan, local scoundrel Tea Shop Keeper Master Li, son of Eastern Hall Elder Madame Zhao, wife of Eastern Hall Elder

WeDge

(Opening Male dressed as Zhao Guoqi enters, helped along by Yangzhou Rascal and Cuige.) Zhao: My surname is Zhao and I’m named Guoqi; my ancestors hailed from Dongping prefecture.6 I came to live here in Memorial Arch Alley inside the Eastern Gate of Yangzhou to carry on my trade as merchant. There are four in my family. My wife

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was of the Li clan, but unfortunately she passed away early in life. Our one son is called Yangzhou Rascal.7 His wife’s surname is Li, too; she is the daughter of Special Commissioner Li;8 her name is Cuige. Ever since she married into my house, “words inside have not gone out, and words outside have not come in.”9 She is a virtuous girl. I remember when I was young, I got up early to do business and went to bed late, scrimping and saving to build this family fortune in the hope that my child would carry it on forever. How could I know that after he came of age and I found a wife for him, he would fall in with bad company, start drinking and getting into trouble, squandering money on fine food and clothes with no concern at all for the family business. These things I have heard with my own ears and seen with my own eyes time and again. This makes me sick with grief—I can’t sleep morning or night. Clearly my hopes are beyond my grasp while my grave grows ever nearer.10 I don’t have long left to live. Once I am dead, that boy will inevitably ruin the family and our good reputation. Among my neighbors to the east is a retired scholar; his family name is Li, his name is Shi, and his sobriquet is Maoqing. He has always been aloof from others; he has the air of the noble man of antiquity. Everyone calls him the Eastern Hall Elder.11 We are very close friends. Since he’s two years younger than I am, he treats me as his elder brother and I treat him as my younger brother. We have never had a word of disagreement during the thirty years of our friendship. Furthermore, Maoqing’s wife has the same surname as I do, and my wife’s surname is the same as Maoqing’s. Consequently, our relations with each other are closer than those of the same flesh and blood. Today I am inviting him over; I mean to entrust my orphan’s affairs to him in order to relieve my worries. I wonder if he will be willing. Where are you, Rascal? Rascal (responding:) What is it? As sick as you are, Father, why do you insist on calling me by my baby name? I’m not a child anymore; don’t you risk shortening your life by calling me that?12 Zhao: You go invite your Uncle Li to come over; I have something to say to him. Rascal: All right. Servants, go next door and invite Uncle Eastern Hall over. Zhao: You were the one I sent. Rascal: Why me? Why should I go—it’s all the way next door! Zhao: Then why did you send someone else? Rascal: I’ll go, I’ll go. Don’t make a fuss. You servants, go harness up a horse. Zhao: It is only next door—why should you go on horseback? Rascal: You call yourself my dad and yet you don’t know me very well! I even go to the outhouse on horseback. Zhao: Such a good-for-nothing! Rascal: I’m going, I’m going! I can see that I’m making you mad again. Now that I’m outside the gate and there’s no one about, I must admit that my father didn’t say anything harsh, and yet I’ve deliberately provoked him, so much so that I could be the death of him. As for that Uncle Eastern Hall next door, he and I have nothing to do with each other. If he doesn’t see me, then all’s well and good. But if he does, he’ll call

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out to me, “You—Rascal!” Ah! He scares me so much that my courage dies and I feel like a goner, and yet I don’t know why I’m so afraid of him. While I’ve been talking I’ve already arrived at his gate. (Coughs.) Is Uncle at home? Elder (enters:) Who is that calling at the gate? Rascal: It’s your nephew, Yangzhou Rascal. Elder: Why have you come? Rascal: Father sent me to invite you over, Uncle. I don’t know why. Elder: You go on ahead, I’ll come along shortly. Rascal: I was hoping that I could leave first; it’ll be easier on me. (Exits.) Elder: My surname is Li and my name is Shi; my sobriquet is Maoqing, and I am fifty-eight this year. My family hails from Dongping prefecture, but I ended up here in Yangzhou to do business and settled in Memorial Arch Alley inside the Eastern Gate. Because in my youth I also read a few lines of the classics and the histories, I call myself the Retired Scholar of the Eastern Hall. Now because I am getting old, people call me the Eastern Hall Elder. Zhao Guoqi, who lives to the west of my house, is two years my senior. Since we were from the same locality and have ended up in the same place, we have been close friends for a long time now, already more than thirty years. Recently Elder Brother Zhao fell ill. For some reason he sent Rascal to invite me over—just as I was about to go visit him. And here I am at his gate already. Yangzhou Rascal, report to your father that I am here. Rascal (reports:) The Uncle Li you invited is at the gate. Zhao: Invite him in. Elder (greets him:) Ever since you fell ill, Elder Brother, I have been very busy and have neglected coming to visit you. Please forgive me. Zhao: Do have a seat. Elder: How are you feeling, Brother? Zhao: This sickness of mine worsens with no relief. It looks as if I do not have long to live. Elder: Have you had a good doctor come to treat you? Zhao: Bah! I have not called any doctors. You and I are the best of friends; what would you guess is wrong with me? Elder: You ask me to guess: could this illness be caused by exposure to wind and cold, or to heat and dampness? Zhao: No. Elder: Could it be because of malnutrition or overeating, indolence or overwork? Zhao: None of those either. Elder: Could it be because of anxiety, some grief or worry? Zhao: Ah! You are the proverbial friend who truly knows my heart! Anxiety and worry are precisely what are causing my illness. Elder: But you must be mistaken, Brother. You have a thousand qing of land outside the city walls; you have an oil-pressing mill and a pawnshop within. You have a son

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and a daughter-in-law, and you are one of the wealthiest men in Yangzhou. What more could you want that you should be so burdened by anxiety and worry? Zhao: Bah! You couldn’t know, but it is all because of that unworthy son of mine, Rascal. Ever since he came of age and I found a wife for him, he has fallen in with bad company; he drinks and gets into trouble. In days to come he will be sure to ruin the family business. Consequently I have worried myself sick—how could any doctor cure me? Elder: You worry too much, Brother. Have you not heard how Shao Yaofu warned his son, Bowen, saying, “I would teach you to be a man of great worth, but I do not know if this indeed is heaven’s will.” And then again, “Observe what a man has in mind to do when his father is living, and then observe what he does when his father is dead.”13 Parents may exhaust themselves establishing a home and a livelihood for the benefit of their sons and grandsons, but whether or not they make something of themselves in the long run is up to the sons—how can the parents see them through to the end? It is pointless for you to be so vexed and troubled about matters you cannot control, Brother. Zhao: Even so, aside from the love of father for son, which cannot be severed, I have worked hard all my life to accumulate a fortune as solid as a bronze dipper.14 If I allow it to be squandered like this, how will I be able to rest in peace at the Nine Springs after death? My sole reason for inviting you to come here today is that I would like to entrust my orphan totally to your care. Please look after this unworthy son and not let him get into trouble. I would be as grateful as those who held jade rings in their mouths and those who tied knots in grass.15 I could never forget such a favor! Elder (stands up:) I dare not refuse your weighty commission, Brother, but first, certainly you have many years yet to live. Second, I am deficient in both talent and virtue. Moreover, since I am not a blood relative, Rascal will not necessarily be willing to listen to my admonitions. Third, your family is extremely wealthy. As they say, “Do not stoop to put on your shoe in a melon field; do not straighten your cap under a plum tree.”16 Please, Brother, entrust him to someone of higher virtue. I must take my leave. Zhao: Rascal, try to make your uncle stay! Why do you shirk my trust, sir? Haven’t you heard, “If a man can be entrusted with an orphan six chi tall, and the fate of a state one hundred li square, . . .”17 Our families have had close relations for over thirty years. We are united in affection as if stuck together by glue or varnish. Apart we would be like Chen and Lei.18 Now my condition is dire—I am at the brink of death. Certainly a man of your pure virtues and faultless reputation could not turn your back on my request. That is why I dare entrust you with my family. Sir! Where are your usual magnanimous spirit and your steadfastness? Have you not heard, “Faced with what is right, to leave it undone shows a lack of courage”?19 (Kneels.) Elder (also kneels:) Ah! Why do you show me such great respect, Brother! Truly I am unworthy of such trust. Please arise, Brother; you leave me no choice but to consent.

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Zhao: Rascal, bring a table here. Rascal: Servants, take a table over there. Zhao: It was you I ordered; why do you order someone else? Rascal: I’ll carry it myself, I’ll carry it myself ! This bunch of bastards—whenever I call them to take care of something for me, every one of them is gone. If anything happens to the Old Boy, I’ll sell off the whole lot of them myself. (Carries over the table.) Ah! In all my thirty years, when did I ever have to carry a table? And why must the thing be so big and heavy! (Puts down the table.) Zhao: Bring me paper, ink, brush, and an inkstone. Rascal: Here they are. Zhao (writes:) I have already drawn up this document; now I will sign it. Rascal, come here. You and I will mark it on the front and sign it on the back.20 Rascal: Why are you making me mark it on the front and sign it on the back? I haven’t done anything wrong. I have no idea of what I’m signing, and he’s holding on to it with both hands as if he were afraid that I’d steal it and eat it! (Signs it.) There, I’ve signed it. Are you going to sell me now? Elder: And if your father does want to sell you, what of it? Zhao: Please accept this document, sir. (Again kneels; Elder accepts it.) Rascal, invite your uncle to be seated, then summon your wife.21 Rascal: Uncle is already seated. Sister, come out here. (Cuige enters.) Zhao: Rascal, you and your wife bow to your uncle eight times. Rascal: Bow to him? But it’s not New Year’s—why bow to him now? Elder: Why should you and I quarrel over bowing, Rascal? Rascal: Don’t think that I mind bowing to you eight times, Uncle. Even if I keep on bowing to you all day long, what’s the big deal? Cuige: Just do as your father says and bow to your uncle. Rascal: Shut your mouth! Enough of your talk! Just stay out of it—I’ll bow, I’ll bow! (Bows.) I’ll make this one bow stand for eight bows. (Stands up and straightens his clothing.) How is your missus, Uncle? Elder (angrily:) Bah! Rascal: This old boy’s getting pretty testy! Elder: Rascal, do you know what your father’s illness is about? Rascal: I don’t know. Elder: Bah! Your father has been ill for six months, and yet you don’t even know why? Don’t you know that when a father is ill, the son should take responsibility for it? Rascal: Calm down, Uncle. I could have said that I don’t know what my father’s illness is, but how could that be? Or I could have said that I did know, but I cannot be certain. I only see him sitting and then sleeping, sleeping and then sitting, so maybe he doesn’t get enough exercise. Elder: Rascal, what is written in that document your father drew up and gave to me?

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Rascal: I don’t know. Elder: Then why did you mark it on one side and sign it on the other if you did not know? Rascal: Father made me sign it: I didn’t dare refuse to sign it. Elder: Since you do not know, come forward both of you and I will explain it to you. Just think: even though your father gave you life, raised you to your majority, and found you a wife, you still fell in with bad company. You started to drink and got into trouble; you did not attend to the family business. Consequently he became sick with anxiety. It says here in this document, “Yangzhou Rascal is hereby forbidden to undertake any enterprise without the consent of his uncle, Li Maoqing. If he does not comply with his uncle’s instructions, the latter may beat him to death without penalty.” Your father is giving me permission to beat you to death. Rascal (laments:) Father, how could you do such a thing! How could you let someone beat me to death! Zhao: Son, it is because I have no alternative. Elder: Do not let this concern you, Brother; Yangzhou Rascal certainly would not dare misbehave. (Sings:) [Xianlü mode: Time to Appreciate Flowers] So worried about his child that his hair is getting thin, So concerned about his fortune that he would even fret in his grave; Such heavy care has reduced his body to a mere skeleton. (Turns to Zhao:) You’ve entrusted your wife and son to me.22 (Speaks:) Have no fear, (sings:) In the end all will be as you wish. (Exits.) Rascal (supporting Zhao:) Sister, Father’s color is not too good just now; let’s help him into his parlor. You relax, Father. Zhao: Rascal, now that you have come of age, manage well the family property, care for your wife, and be frugal and thrifty. Clearly I am about to die. (Recites:) Just because I raised a son whose nature’s commonplace, Day and night I worry and grieve—death’s staring me in the face. Should he hurry across the courtyard it would be too late,23 Then if only in dreams we’ll be together in one place. (Exit together.)

ac t 1

(Clown dressed as Tea Shop Keeper enters.) Tea Shop Keeper (recites:) Three Isles’ patrons I welcome with tea. Five Lakes’24 guests I send off with puree;

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If the soup or the tea’s not as good as can be, Then it’s so hard to get them to pay me! I’m a tea shop keeper. Today I’ve heated up the teakettle and I’m waiting to see who comes by. (Comics dressed as Liu Longqing and Hu Zichuan enter.) Liu (recites:) I raise neither silkworms nor mulberry, no fertile lands do I till; I solely rely on swindling my idle years to fill.25 Hu (recites:) Why should I work from morning till night draws near, When harder-working suckers will pay my every bill? Liu: I am Liu Longqing; my sworn brother here is Hu Zichuan. Neither of us knows how to carry on any business or trade; we wholly depend on our clever tongues to get us through. In the city there’s a Little Brother Zhao, Yangzhou Rascal.26 Ever since he swore brotherhood with us, he has done exactly what we have told him. Without us he wouldn’t be in the mood even for drinking tea or eating a meal. And if it weren’t for him, the two of us would starve to death! Hu: Even my old woman’s trousers are his, Brother, and so is your head scarf, too. Liu: Ouch—and it’s hurting my head! Hu: What is there among the clothes we wear and the food we eat that didn’t come from him, Brother? I haven’t seen him for the last couple of days, and it’s made the palms of my hands feel all scorched and dry. Brother, let’s go look for him in the tea shop. If we find him, we’ll have both meat and wine. What we can’t finish we’ll wrap up and take home to give to our old women. Liu (sees Tea Shop Keeper:) Right you are, Brother. Waiter, has Little Brother Zhao been here? Tea Shop Keeper: No, not yet. Liu: You keep watch for us. When he comes in, you tell us. We won’t be having anything just now, though. Tea Shop Keeper: As you wish. But here comes Little Brother Zhao now. Rascal (enters and recites:) On the surface I’m blessed with great beauty, Yet within I’ve not one speck of worth; Crudeness is ingrained in my core, While my charm has been growing since birth. I’m Yangzhou Rascal, but most people find it easier on the tongue to call me Little Brother Zhao. Since my father died the days and months have gone by quickly, and it has already been ten years. I’ve been living off the family fortune: the gold and silver, the pearls and kingfisher jade, the antiques and curios, the produce and property, livestock, cattle, and sheep, the oil-pressing shop, the pawnshop, the maids and—I’ve mortgaged or sold them off until now they’re all gone. My hands are used to handling

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money every day and my mouth is used to delicacies—if I don’t spend scores of pieces of silver a day, I just can’t get by. I’ve formed bonds with two sworn brothers; one is Liu Longqing and the other is Hu Zichuan. They’re my bosom buddies. They know what I’m going to say before I say it; all I do is mention the beginning and they know the end of it. Why shouldn’t I respect them? But I haven’t followed Father’s wishes after all. What they suggest is just what I want to hear, and so I listen to them just as if they were classical writ. I haven’t seen them for a couple of days; usually they’re in that tea shop waiting for me. I’ll go there and ask about them. (Greets Tea Shop Keeper.) Tea Shop Keeper: Here you are, Little Brother Zhao. Your friends are waiting here for you to come. Hey you two, Little Brother Zhao is here! Hu: He’s here, he’s here! One of us should be cordial to him and the other nasty. You go meet him. Liu: You go, Brother. Hu: No, Brother; you go. Liu (greets Rascal:) Where were you, Brother? We’ve been waiting for you all morning. Rascal: You haven’t come around to see me these past few days either, Brother. Liu: Hu Zichuan is here too. Rascal: I’ll go over there. (Greets Hu.) Good morning, Brother! (Hu does not return his greeting.) Liu: Little Brother’s here. Hu: Which little brother? Liu: Little Brother Zhao. Hu: Where does his old man serve as an official that he should be called “Little Brother”? He’s a good-for-nothing who’s pretending to be an official—playing the imposter before our very eyes!27 Call the bailiff and tie the bastard up! Rascal: How can he be so unreasonable? He must have started drinking early today. Liu: We’ve been waiting all morning, but we haven’t eaten yet. Rascal: Haven’t eaten? Why didn’t you tell me sooner? I’m not the tapeworm in your stomach—how would I know? Here’s a piece of silver; you can buy your own food. (Gives them money.) Hu: Bring tea for Little Brother. You’re just too thin-skinned for this sort of teasing. Rascal: It’s not that I’m thin-skinned, Brother; it’s that your hide is a little too tough for me.28 Liu: I have a “private matter” that I’d like to arrange for you. Rascal: I appreciate your good intentions, Brother. But I’m not like what I used to be—I’ve used up all my inheritance. It’s been like feeding an ass with a sieve—all the beans have leaked out.29 All I have left is this suit of clothes; I’m keeping up appearances, just pretending to look like a man of means. You go set her up for someone else. Hu: I’d say you don’t want to go along with this because you can’t make a dead dog climb a wall.

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Rascal: It’s not that I can’t get it up, Brother; it’s only my money belt that’s soft to the squeeze. Liu: Ha! You say you have no money, but your house still “wears the King of Heaven’s armor.”30 Can’t you get some cash for that? Rascal: Aiya! How can you only be my sworn brother—you know me as well as my old man! Who else could come up with such a good suggestion when I’m in a bind? Sure, I’m out of money now, but if I sell the house, then I will have more! But there’s just one catch, Brother. When my father was alive, he spent a hundred ingots of silver just replacing the roof tiles. Who would be willing to pay that kind of price now? Hu: If it’s worth a thousand ingots of silver, ask for only five hundred; if it’s worth five hundred, ask for only two hundred fifty. That way people will fight over it. Rascal: Sure enough. If it’s worth a thousand ingots, I’ll ask for only five hundred; if it’s worth five hundred, I’ll ask for only two fifty. Then people will fight over it—it will be like getting a millstone off my hands. But there’s just one catch, Brothers: my uncle Li next door will undoubtedly have some objections—that’s why we can’t do it. We just can’t! Hu: Well, if Uncle Li isn’t willing, just twist his arm a little and then he’ll go along with it.31 Rascal: Yes, if he’s not willing, we’ll just twist his arm a little, and then he’ll go along with it. But if I sell the house, I’ll need an assessor and a broker. Liu: Then I’m an assessor! Hu: And I’m a broker! Rascal: Oh—so you’re an assessor and you’re a broker. But if I sell the house, where will I live? Liu: There’s a broken-down donkey shed at my place. Rascal: There’s a broken-down donkey shed at your place? Well, as long as it doesn’t leak through on me, it’ll be all right. But what will I use to cook with? Hu: There’s a worn-out cooking pot at my place, two cracked bowls, and two pairs of split chopsticks. I’ll give them all to you: that will be all you’ll need. Rascal: Good Brothers, if this house is worth a thousand ingots of silver, then I’ll ask only five hundred; if it’s worth five hundred, then I’ll ask only two hundred fifty. When people see that the price is low, they’ll fight to buy it. If Uncle Li isn’t willing, then we’ll just twist his arm a little. You, Brother Liu, will be the assessor, and you, Brother Hu, will be the broker. Your house has a broken-down donkey shed, and your house has a worn-out cooking pot, two cracked bowls, and two pairs of split chopsticks. That will be all I’ll need, and I’ll be happy. If it were not for you two dirty bastards, I just couldn’t be properly finished off ! (Exits.) (Elder enters with his wife, Madame Zhao, and son, Master Li.) Elder: I’m Li Maoqing. Who would have thought that my old friend would have such clear foresight. He said, “After I die, my unworthy son will inevitably ruin the family.” Now that has come about just as he said it would. Rascal has indulged himself

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with wine and women, and in a matter of only a few years, the family fortune has been swept away without a trace. Well is it said, “No one knows a son better than his father.” This is true indeed. (Sings:) [Xianlü mode: Touching Up Red Lips] This began as the nest of his forefathers— Who could predict that an unworthy offspring Would scrape it bare? His father toiled for half a lifetime, Vainly planned for a thousand years to come. [River Churning Dragon] Beware of living by treachery and craft, For I fear that your fate will not merit such gains! From time immemorial all is predestined by former lives, Who, then, would allow greed and gluttony in this one? Worthy but stupid was the one who amassed wealth while fated to be poor, While the one who enjoys that family wealth is his pampered son.32 (Speaks:) I think of how hard he worked to amass this wealth: (sings:) In his business dealings, He had to be cunning and deceitful; In opening farmland, He had to hoe and dig everywhere; He ditched marshes, worked as fisherman and woodcutter, He dug deep in mountain caves, mining coal for fuel; But wherever he worked, He strove to earn all possible profit and fame, Without ever realizing that in the end He’d fall on the road to Handan33— Just like the finch that called from the eaves Or the wren making its nest in reeds.34 (Cuige enters.) Cuige: I’m Cuige. Ever since my father-in-law passed away, Rascal has been squandering all of the family fortune and property. Now he wants to sell the house too. I’m going to tell our uncle of the Eastern Hall. This is his house; I must go straight in. (Greets Elder.) Elder: Why have you come, daughter-in-law? Cuige: Ever since my father-in-law died, Rascal has been squandering all of the family fortune and property. Now he wants to sell the house. I came right away to report this to you, Uncle. Elder: I knew it! Wait until that worthless wretch comes—I have some thoughts of my own about that. (Rascal enters with Liu and Hu.)

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Liu: Take care of this quickly, Little Brother Zhao. Any delay could spell disaster. Rascal: Rounding the bend and turning the corner, here we are at the gate of the Li house. There’s just one hitch, Brothers: I won’t dare bring up the sale of the house directly. Since the old man will probably be a little cantankerous and because this will be hard to talk about, I’ll beat around the bush a little before I bring it up. You two stay out here. (Greets Elder and bows:) Uncle, Aunt, I bow and salute you. (Sees Cuige, glares at her.) Why are you here? Could it be that you’ve come to inform on me? Elder: Rascal, why have you come? Rascal: It’s because my wife has come to see you, Uncle; because she’s so young I was afraid she might not know how to conduct herself. (Liu and Hu enter; they see Elder, ceremoniously bow to him.) Elder: And who are these two? Liu and Hu: We’re not to be taken for common scoundrels—we’re scholars and we’ve read half of The Essentials of the Comprehensive Mirror.35 Elder (angrily:) For what reason have you come to my house? Liu: We greeted him right nicely, and yet he’s getting all huffy. How tiresome! Rascal: They’re good friends of mine. One is Liu Longqing and the other is Hu Zichuan. Elder: What Liu Longqing or Hu Zichuan do I know that you should summon them here to see me! Rascal, (sings:) [Oily Gourd] With this pack of dogs, this pair of foxes you cavort. (Speaks:) Rascal, how old are you? Rascal: I’m thirty, Uncle.36 Elder: Shush! (Sings:) You are no longer a child, But no good deeds have you learned to do. (Speaks:) Well, I cannot blame you . . . (Sings:) At home no guidance from venerable father or honorable brother, Outside you’ve no instruction from good friends and stern teachers. (Speaks:) You will wind up a beggar, Rascal! Rascal: Is that so? Just read my left palm: that’s not in my future! Elder (sings:) You’ve squandered all your family property, Leaving wife and children to freeze and to starve. Still I hope that you’re only drunk and will sober up, Merely confused and will become enlightened, Just dreaming and will awaken37— And yet you keep company with a pair such as these! Rascal: Liu Longqing and Hu Zichuan are my best friends.

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Elder: Rascal, (sings:) [Joy for All Under Heaven] Ah, son, have you not heard . . . Consorting with the virtuous, your wisdom will soar. (Speaks:) You only deceive others, Rascal; you have never fooled me. (Sings:) When first you emerged from the womb, Your mother swaddled you, Fed you tasty delicacies, And raised you to manhood. (Speaks:) It is only because you would not attend to the family business that your father fell ill from anxiety and died. (Sings:) First you sent your sorrowful mother to an early grave, And then you caused your father’s death as well. Just look at you! Just look at you! How can you call yourself a son who provides for his parents in old age? Rascal: Don’t look down on those two, Uncle. They’ve both read half of The Essentials of the Comprehensive Mirror. Elder: Rascal, let me tell you what you do every day—do not try to deny it! Rascal: Uncle, you tell me what sort of people I should respect and which sort I should not respect, and I’ll listen. Elder (sings:) [Song of the God Nezha] When you see a new actress arriving in the city . . . (Speaks:) Worthless wretch! You say, “Come along . . .” (Sings:) At once you send out an urgent invitation. And when you see a respectable woman knocking at your door . . . (Speaks:) Then you say, “Come in quickly . . .”38 (Sings:) Then you descend the steps to meet her. But when you see a proper scholar coming to your gate, (speaks:) Then you say, “There’s no one at home, no one at home!” (Sings:) You withdraw inside and hide. You disdain those who snatch the toad and break the cassia,39 You respect only women whose beauty makes the moon pale and flowers blush. You have none of Yan Pingzhong’s skill in making true friends.40 [Sparrow on a Branch] You love only slender waists— The ones like pliant branches. A frequenter of dance halls and singing terraces— Not to speak of that life of “evening moon and dawn flowers.” Remember the days when to the tune “Six Little Ones”

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The “Rainbow Skirt” dance was yet unfinished,41 On looking back the candles were burned out, the incense blown away. (Speaks:) Rascal, the day will come when you will be a beggar! Rascal: Is that so? Just read my right palm: that’s not in my future! Elder (sings:) [Dodder] Have I not repeatedly admonished you, Telling you that you’re sowing calamity’s roots and seeds? You’ve neglected your humble wife, the treasure of your house, Preferring instead seductive charmers, the bane of every home. Ah, son, You’re making yourself a pauper, frittering away the family fortune. You only want to hear “Cassia Fragrance” To the notes of sandalwood lute.42 But instead you’ll beat a beggar’s clapper To lines from “Lotus Blossoms Falling.”43 [Six Little Ones] Just there is concealed a snare, Needles hide everywhere in silk padding; there are daggers in their smiles; How can you escape the slapping and the hitting?44 These are nothing but mermaid silks within the bed curtains, The most intoxicating brew,45 And the fatal allure of those voluptuous beauties. Half a mat of that realm is as treacherous as eight hundred li of Liangshan,46 As dangerous as nights when the moon is black and the wind is high! Those foul “mists and flowers” Wait only for you, dissipated wretch, To give them certificates worth five thousand salt ships Or ten thousand loads of tea.47 [Same tune as above] You’re captive behind their doors, A prisoner in their trap— A world where there are neither officials, Nor the law of the realm, Nor are there officers, Not even prisons. You began with the wealth of Golden Valley,48 But you frittered it away in a trice. Let me tell you, there’s no way to escape; It’s hard to get off this path.

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You’ll be flayed and your feathers all plucked, Until your whole body is scraped clean; Then you’ll be broiled, toasted, boiled, or roasted. Those bawds are armed with steel teeth and claws: Even though your hands may be nimble and your feet quick,49 Your bones will melt, your body will dissolve. (Speaks:) Rascal, what is the real reason for your visit? Rascal: I wouldn’t dare come for no reason, Uncle. Today I’ve come just to report that in the ten years since my father passed away, I’ve been rotting, sitting at home idle, with many expenses but no income. You could say that I’ve “sat and eaten the mountain empty, stood and eaten a hole in the earth.”50 It’s also said that a thousand strings of cash stored at home aren’t as good as a daily income of only a few. I’ve been thinking: since I’m originally from an old merchant house, I’d like to go into business with some partner now. But I lack the capital. Now that I think of it, there’s nothing left at home that’s worth any money. There’s only this one mansion that’s still worth five or six hundred ingots. If I sell it for capital, then quick as a wink I’ll make big profits.51 Elder: Oh! Then you’ve already either mortgaged or sold your oil shop, your pawnshop, your treasures and your valuables, your produce and your property! You have only this mansion—your home—and you want to sell it too. If you do sell it, I’ll buy it. Rascal: If you want it, Uncle, go and inspect the whole house: the east corridor, the western lodge, the front hall, and the rear apartments, the gate, the windows, the outer and inner doors, upstairs and downstairs. Then make me an offer. Elder: But I do not need to look at it. (Sings:) [One-half] I care not if beams are old in eastern corridor or western shed. Rascal: The front hall and the rear apartments were recently tiled. Elder (sings:) I care not if rear apartments and front hall were newly built. Rascal: If you want it, Uncle, I’ll set the price at five hundred ingots. That won’t be too much, will it? Elder (sings:) It’s not that your unworthy uncle complains about the high price you ask. Rascal: When can I have the money, Uncle? Elder: I cannot give you that much money all at one time—(sings:) At most in half a month; maybe less than ten days. Rascal: This is a hot item, Uncle. I’m afraid that someone else will come along and buy it. Elder: You want five hundred ingots; I will pay you two hundred fifty first. (Sings:) Of these five hundred ingots, I will pay half And owe him for the rest. (Speaks:) Son, you go bring it in here.

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Master Li (brings the money:) Here are two hundred fifty ingots’ worth of notes, Father.52 (Elder hands it to Cuige; Rascal snatches it away.) Rascal: Give it to me! Look at you—just what do you know about financial matters! (Hands it to Hu and Liu.) Brothers, you two take it. Elder: When you use up all of this money, you will have no more houses to sell so easily—just keep that in mind. Rascal: All right. We’ll talk it over and go into business, then quick as a wink I’ll make big profits. (To Liu and Hu:) Brothers, these two hundred and fifty ingots are just enough. First go buy ten big sheep, order a dinner with five kinds of fruit and five vegetables dishes, and buy some “popped sugar lions.”53 As for my wife, give her a table by herself, but you two can share the same table like lovebirds. Spread a separate table for me. Liu: That’s just how we’ll arrange it. Elder (overhears:) Rascal, what are you doing? Rascal: Nothing, just discussing business. I’ll take this money, purchase a variety of goods, and pile them on tables spread out in a line. When passers-by see them, they’ll praise me, saying, “What a lot of capital that merchant has to lay out a spread like this!” Quick as a wink your child will make big profits. Elder: Be cautious, child. Rascal: Whew! The old boy almost heard that! Brothers, by the time we finish the first soup, the temperature should be getting hot.54 Then we should doff our hats, loosen our clothing, and open up the shuttered windows on all four sides. Elder: What did you say, Rascal? Rascal: Nothing, just discussing business. I don’t want to give them the money in a dark room; if money changes hands in a dark room, someone might be deceived. As the saying goes, “Better to do it by daylight than in darkness.” Open the shutters for me! I’m discussing business and quick as a wink I’ll make big profits. Elder: Fine, my son; then I have not wasted my time. Rascal: The old boy’s gone now. Brothers, after the meal and just before we split up, one of you watch the stairway door. The other can pour from the wine jug, and I will hold the cups. We’ll have a couple of quick drinks. Tell your “darling” Miss EverReady to dance and sing the Flower Garland Sutra for her sea of worshippers.55 Elder: Rascal, what are you talking about? Rascal: Oh, nothing. Elder: Such a fool! (Sings:) [Coda] You belittle a mansion that reaches to heaven; You find fault with your fields outside the city walls; With one sheet of paper you sold them all. Do you know where you’ll be roosting from now on—

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Sheltered from wind and frost only by a broken-roofed brick kiln.56 Ah, son! Consider it in your heart: Night after night, day after day, only gaiety: When will you put in a day’s work to return home all sweaty?57 You’ve sold off all your curios and valuables, Squandered all your fine silver and crisp paper cash. Ah, son! How can you exchange those endless Deng Tong coins For Xu You’s gourd?58 (Exits.) Rascal: Brothers, make all the arrangements quickly, and then come and get me. (Exits.)

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(Elder enters with his wife, Madame Zhao, and son, Master Li.) Elder: I am Li Maoqing; I purchased the residence of the Yangzhou Rascal and paid him for it. Of course he did not do any business with that money! In all likelihood those two scoundrels have swindled him again. If that wastrel does not reform, I will have failed to merit my old friend’s trust. What should I do? Master Li: Father, I have been in business for some time now with only poor results. I must have been born with bad luck. Elder: You are wrong, my son. Of those who do business, there is one type who is willing to advance and who dares to take chances; he bears the wind and braves the snow, endures the cold and suffers the chill. There is another type who fears the wind and is afraid of the rain, so much so that he does not even go out of his gate. Thus of Confucius’s three thousand disciples, only Zigong was proficient in increasing his stock, and he became very wealthy as a result.59 How can success stem from one’s fate and not from personal endeavor? (Sings:) [Zhenggong mode: Proper Decorum] I believe that the rich are those who work hard; Poverty does not depend on one’s fate. We must shape our destinies through our own efforts. Some may say that poverty and wealth are determined before birth, But no—if they were, we could just sit tight and wait! Madame Zhao: Husband, describe to our child how you earned money when you were a youth. Elder (sings:) [Rolling Silken Ball] I remember, in my youth, fierce were my blood and spirit; I’d fight hard for even a fly’s head worth of profit.

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Aiya!—that’s why my old body’s all worn-out now. I’d risk life and limb in dens of tigers and wolves; I cared not at all whether it was night, Or whether it was daylight, Whether it was rainy, or it was fair. On the field of profit and fame I raced back and forth; When did I ever know a single day of peace?60 I would be away for ten years or for five, And so my present prosperity Was built up through myriad pains and countless sufferings. It is frightening to think of them all! (Cuige enters.) Cuige: I am Cuige. After Rascal sold our house, he took the money and went to Moonlight Tower with those two loafers, his so-called friends. There they drank and caroused with Miss Ever-Ready. I don’t dare keep silent about it, and so I’m going to report it to Uncle Li. And here I am already. Please announce me, Little Brother: say that Cuige has come to see Uncle. Master Li (reports:) Father, Cuige is at the gate. Elder: Send her in. Master Li (goes out:) Cuige, Father says for you to come in. Cuige (greets them:) Uncle, Aunt, myriad blessings. Elder: Why have you come, child? (Cuige weeps.) Elder (sings:) [If a Scholar] I see that she cannot speak, breath catches in her throat; I see that she cannot wipe away the tears streaming down her cheeks. Cuige: I am so angry at him that I could die! (Cries aloud.) Elder (sings:) Pulling your ears and scratching your face so— What good will it do? Cuige: Uncle, Rascal took the money from selling the house and, together with those two loafer friends of his, went to Moonlight Tower to drink with Miss Ever-Ready. When he has used up that money, he’ll even want to sell me. Uncle, what will I do if he does? Elder (sings:) For my part I listen carefully While you rail at him; He, he, he— How can he be so blind!61 Cuige: Uncle, think of my late father-in-law: he worked hard to establish a family fortune with property as rich as fine brocade, hoping that his son and grandsons would pass it on. Who could have thought that Rascal could have squandered it all?

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Elder (sings:) [Rolling Silken Ball] Do not say that the family is not yet destroyed, The family’s destroyer is not yet born; Do not say that the family has not yet risen, The one who will make it rise is not yet grown. The ancients’ saying is proven true in every way: (speaks:) Those who are parents . . . (sings:) Would give everything to have their descendants Flourish for generation after generation, Wishing only that family and trade will grow, That wealth and property will increase, That year by year they will further prosper, further flourish. (Speaks:) How could they know that for the children they rear . . . (sings:) Would be adversaries from birth, Flouting their every wish!62 Their mansions in the city, their lands in countryside— Are to them like willow catkins in wind, duckweed on water. Alas for the splendid future they might have had!63 (Speaks:) My son, let’s take twenty or thirty stout fellows to Moonlight Tower to thrash those bastards! (Exits.) (Rascal, Liu Longqing, and Hu Zichuan enter.) Rascal: I’m the Yangzhou Rascal, and I’m having a great time! Today I’ll take my time drinking, and I won’t go home until I’m really loaded. Hu: The wine and food are all ready. Rascal: Let none of us go home until we’re all really drunk. (Picks up a cup.) (Elder dashes in.) Elder: Rascal! Rascal (shows fright:) Oh, no! He’s come to break up my wonderful drinking party! Aiya! Uncle, I’ve invited my business partners out for dinner. Elder: Is this your “business,” Rascal? Is this how you “make big profits quick as a wink?” I ask you! (Sings:) [If a Scholar] It’s not the Festival for Sweeping Graves or the New Year, Nor is there cause for celebration like a birthday; For no reason you set out wine, spread the mats, invite a crowd. Liu: He’s spoiling everything! Elder (sings:) You honor . . . What virtues in those knaves can you honor? You respect . . . What talent in those knaves can you respect?

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Ah son, Why do you follow such as these? Liu: We’re not like that, Elder. We’re both scholars who have read half of The Essentials of the Comprehensive Mirror. Elder: Which of you has read half of the Essentials . . . (sings:) [Rolling Silken Ball] All you’ve read is the First Heavenly Classic on Fleecing Others! Hu: What about me? Elder (sings:) You’re a cloth-robed scholar of how to strangle people! (Speaks:) All you’ve ever learned is that one call, “Brother, wherever you’re going, take me along.” (Sings:) You say you’ll be his groom and tend his whip and stirrups, But even if you crash a thousand parties, That will still not fill your bottomless pit! (Strikes Hu.) Rascal: I’m imitating two of the ancients: I’ve learned how Lord Mengchang fed three thousand guests and how Gongsun Hong summoned the worthy to his eastern apartment.64 Elder: Bah! A pity that you have no sense of shame! (Sings:) Lord Mengchang was the son of a duke, Gongsun Hong was a famous minister. At court both were all reverence and respect; In their homes they assembled only groups of worthies. Where would we ever see scoundrels like you who neglect their wives . . . (Strikes him.) Hu: The old boy’s getting carried away with himself ! Elder (sings:) Or worse, these wretches who neglect their parents! Liu: Calm down, Elder. Elder (sings:) The flames of my rage mount higher and higher! (Speaks:) Rascal, I can see what will happen to you: soon enough you’ll be a beggar. Rascal: How could that be? Look at my left hand—that’s not in my future. Elder (sings:) [If a Scholar] You claim to have the wit to wreak havoc like Zuo Ci, And the strength of Xiang Yu to lift mountains and hoist tripods.65 Yet in broad daylight these rascals have exchanged your eyes for balls of mud! Even if you had curses to subdue demons, Or a sutra that brings salvation, You couldn’t escape from the spell of those two devils! (Speaks:) If you don’t heed my advice, Rascal, before long you’ll be a beggar.

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Rascal: How could that be? Look at my right hand—that’s not in my future. Elder (sings:) [Third to Last Coda] Then you will suffer hunger and cold, as if stranded in the Sea of Darkness; You’ll have “nothing but the name of a drifter in the blue houses.”66 Liu: How about me? Elder (sings:) You are an empty bottle, utterly useless. Hu: How about me? Elder (sings:) You are like a bolus stripped bare and worthless.67 Hu: Neither of us is that ugly! Elder (sings:) You may be warm enough on the outside, But within you have hearts of ice! Liu: Don’t get carried away, old fellow. You’ve got a pair of eyes: what do you think of this fine outfit I’m wearing? Elder (sings:) I can’t bear to look at your wide seams there under the lining, Your stomach folded over, your chest puffed out, Your prancing about like a duck or a goose. When you go out— You may look peachy with your face partly covered by a fan, But returning to your tile kiln— Ho, ho, ho! It’s surely the Bitter Cold Pavilion in wind and snow.68 Liu: What do you mean, “bitter cold pavilion of wind and snow”—I only know how to ride leisurely about on my fine horses with my spurs and stirrups. Elder (sings:) [Penultimate Coda] You say you “ride leisurely about on fine horses with spurs and stirrups.” (Speaks:) You two go home and figure out how much each of you has swindled from him. (Sings:) You capture flies only to release them before they die.69 Rascal: You’ve underestimated me, Uncle. I have a generous and giving heart, a yielding and humble nature, the capacity of a knight-errant, and a nobility of mind. Elder (sings:) What “generous and giving heart” have you That you revile and abuse Lu Su; What “nobility of mind” have you That you can outshine Liu Yi;

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What “yielding and humble nature” have you That you can surpass Bao Shu;70 What “knight-errant capacity” have you That you would swindle Chen Deng!71 Rascal: I give presents to the needy every day; I’ve done countless good deeds. Elder (sings:) Give presents—to which bankrupt merchants? Give presents—to which banished officials? Give presents—to which poor, downtrodden students? Such deeds would have made you famous, glorified your name, Outshone sun and moon, and impressed the emperor’s court. [Ultimate Coda] Wouldn’t that be better than giving thirty ingots to a prostitute or bawd? Better than giving two hundred bottles to a playboy or wastrel? You yearn for good times and beguiling scenes, The pleasures that gladden the heart, In parties with friends and guests, Toasted with running cups and flying goblets. (Speaks:) Rascal, I ask you: whose money is this? Rascal: It’s my father’s money. Elder: And who ought to be using it? Rascal: It ought to be mine to spend. Elder (sings:) This was none other than the fortune your father built up; It is your own inheritance, And no one else can lay claim to it. Why not share it with your wife and children— Why hand it over to that Hu Zichuan and Liu Longqing? Rascal: When I give a banquet, if I tell them to invite ten people, they bring ten extra; if I invite twenty, they invite twenty more. In less than an hour they have invited everyone to the banquet. Tell me, Uncle: how can I not respect them? Elder: Bah! (Sings:) [Coda] When you are rich, they invite three thousand swordsmen, (speaks:) But once your money is all gone . . . (sings:) They will flee, leaving you to pace your twelfth-level Jade Terrace alone.72 (Speaks:) Rascal, (sings:) One day when you will have squandered all the family property, Cutting off both principal and interest from your pawnshop, Of your houses, none is left, your stores of rice exhausted—

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Who will support you, and how will you get by? You’ve no experience in doing business, Nor are you trained in manual skills; Neither strong enough to bear heavy work, Nor patient enough to do the light. You’ll have to shake your beggar’s clapper, Strike your clay begging bowl On your circuits begging for scraps under the eaves of the town. No firewood to burn and melt the ice in your cooking pot, No mat in your ruined kiln, nothing to cover your head. Your empty stomach will rumble like spring thunder, Even your bones will rattle; A frigid wind will whistle, numbing your spine. Anxiously you await the last of the hours struck from the tower.73 (Speaks:) What is the time now? What is the time? (Sings:) Frost pierces your kiln, you cannot endure until dawn; You lament that knocking on relatives’ doors gets no response at all; Unable to get hold of even the shadow of close friends on the street. How can you go on with no food for strength? Your corpse, frozen rigid, will lie buried under deep snow, Who would bother to make you a makeshift coffin? In a trice they’ll carry you out and fill your grave level. Even in death, your neighbors will still resent you For heedlessly leaving a bad name for your parents! With good advice I counseled you, but you would not listen; You valued those rascals’ lies as if they were your mother’s words. You know well that your father fell ill from anger; I too am incensed, my rage waxing ever more. Should I drag you off to court to satisfy my feelings? If I do not beat you to death, worthless wretch, I’ll forfeit my good name!74 There are other families with deceiving youths, But none courts his ruin as readily as you do. It may be that you were born weak of will, Your heart and character already benighted, Your ears already hardened to good counsel;75 Ah, son! In truth my words cannot change you; my teachings cannot mold you. But just take that document you marked and signed on the back And read it very carefully. (Exits.) Rascal: This drinking party has been ruined! You break it up when you wish; I’m going home! (Rascal, Hu, and Liu exit.)

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(Rascal and Cuige enter carrying a shabby basket.) Rascal: All you good-for-nothings, take a lesson from me! I’m the Yangzhou Rascal. Because I didn’t believe the advice of good people, I did indeed come to this pitiful state. Placing my trust in Liu Longqing and Hu Zichuan, I used up my house and home, all my family property. I’ve been tricked out of everything. Now we’re living in a ruined kiln near the south wall of the city. If we eat breakfast, we have nothing for supper. Every day we build a fire on the floor where we sleep; then we lie down on the warm ground. How are we to get by in the days and months ahead? It is fitting that I am suffering, but this old woman of mine has never had a single day’s comfort. Enough, enough! Sister, I can’t go on living! I’m going to untie this rope and fasten it to that tree branch. We’ll both hang ourselves—you on that side and I on this. Cuige: Rascal, in the days when we had money, you spent it all as you pleased; I’ve never had any fun. It would only be fitting if you hanged yourself, but why should I? Rascal: You have a point there, Sister. I’ve had my fun, but you’ve never had any. You wait in the kiln while I go look for those two swindlers. Sweep up a little dry mule dung for fuel and heat up the pot to a good rolling boil. I’ll go find some rice for you to boil into gruel. Heaven! Poverty is killing me! (Rascal and Cuige exit.) (Tea Shop Keeper enters.) Tea Shop Keeper: I’m the tea shop keeper. This morning I got up, I combed my hair all slick, washed my face, and now I’ve opened my tea shop to see who’ll come by. (Liu and Hu enter.) Liu (recites:) Firewood is cheap, Rice is still cheaper; We are two sharks— Don’t we make a fine pair!76 (Speaks:) I’m Liu Longqing; my brother here is Hu Zichuan. We’re very close friends, never apart from each other by a step or an inch. Brother, ever since we had no further use for that Little Brother Zhao, we haven’t had much fun. Today let’s go into that tea shop to relax for a while; with a little luck we’ll find another patron. Waiter, bring us some tea. Tea Shop Keeper: Of course. Please come in and have a seat. (Rascal enters.) Rascal: I’m Rascal. In the past, when I left my gate, everyone kowtowed and banged their heads, claiming to be my friend and sworn brother. But now that I am poor, everyone I meet shuns me. I’ll just inquire in this tea shop now. (Sees Tea Shop Keeper.) Good morning, tea shop keeper. Tea Shop Keeper: What does that beggar want? Ugh! A beggar’s come to pay his respects!

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Rascal: Good, good! I was just looking for those two sworn brothers of mine, and it happens that they’re here right now. They will help me out—wonderful! (Sees Liu and Hu, greets them.) My respects, Brothers. Liu: Get that beggar out of here! Rascal: I’m not a beggar; I’m Little Brother Zhao. Hu: Who’s Little Brother Zhao? Rascal: Me, that’s who. Hu: You’re Little Brother Zhao? Then I ask you: why are you so poor? Rascal: It’s all because you two wicked bastards made me poor! Liu: Are you starving, Brother? Rascal: Of course I’m starving! What have you ordered? Let me have some of it too. Liu: Wait a couple of minutes, Little Brother. I’ll go buy something for you to eat. Good roast goose, a leg of pork; I’ll go buy some right away. (Exits.) Rascal: Brother, where has he gone to buy food? Why hasn’t he returned after all this time? Hu: Let me go too, Little Brother. Rascal: No, don’t go, Brother. Hu: If you can’t wait for him, I’ll go buy you some meat, pickled fish, and wine. Wait right here for a little while, Brother; I’ll be back soon. (Hu goes out the door.) Tea Shop Keeper: You owe me a lot of money—where do you think you are going? Hu: Don’t talk so loud: come out here, and I’ll explain it to you. Tea Shop Keeper: Well, what do you have to say? Hu: Don’t you recognize him? That’s Yangzhou Rascal. Tea Shop Keeper: That’s Rascal? How did he come to be in that condition? Hu: He’s a very wealthy man, but he wants to avoid the official levy for money and conscript service. That’s why he pretends to be poor. He’ll take care of the money the two of us owe you. Just ask him; it is does not concern the two of us. I’m going home. (Rascal picks lice.) Tea Shop Keeper: I’ve figured up the bill. You owe me five mace for tea, three taels of silver for wine, one ounce, two mace for food, five taels to pay off the singing girl Beautiful Lotus Geng, and eight mace for gambling at double six.77 That’s ten taels, five mace altogether. Rascal: What bill have you been adding up, Brother? Tea Shop Keeper: You pretend not to know, but just now Liu Longqing and Hu Zichuan transferred over to you all the bills they have owed me over the years. Hand over the money—here’s the bill. Rascal: But, Brother! If I had any money, how could I be willing to pretend that I’m a beggar? Tea Shop Keeper: You claim to be poor, but they said that you’re afraid of the levy assignment from the officials. That’s why you’re pretending. Rascal: So those two transferred to me bills that they’ve owed you over the years to make me repay them! But don’t even look at what I’m eating, Brother; look at what

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I’m wearing. Where would I get a mace of money? I would rather be your servant— carry water and tote the slops, glean the fields and scour the ground—to pay you back. Tea Shop Keeper: What a shame, what a shame! You used to be a man of standing and a customer of mine. How could I ask you to work as servant for me to repay old bills? I won’t ask for that money at all; I’ll just forgive the whole debt. How about that? Rascal: Brother, if you’ll let me off, I’ll be your donkey or your horse in my next life to repay your generosity. Tea Shop Keeper: Enough, enough! I’ve forgiven the debt; now just go away. Rascal: Thank you, Brother: I’m going out the door now. The two of them tricked me into staying here while they pretended to go buy food. They transferred all their debts to me, but fortunately this kind man let me off. If he hadn’t, what would I have done! Liu Longqing and Hu Zichuan—in my whole life I’ve never seen two such bastards! (Exit together.) (Cuige enters.) Cuige: I’m Cuige. Rascal went to town to seek aid from his friends. It’s been a long time, and yet he hasn’t returned. I’ll just heat the water pot and wait. (Rascal enters.) Rascal: What a dirty trick! They got me to stay in that tea shop while they both left. I’ve gone hungry all day for nothing. I’m going back to my broken-down kiln. (Sees Cuige.) Cuige: So you are back. Rascal: Did you heat the water in the pot to boiling? Cuige: I’ve heated it very hot; give me the rice to boil. Rascal: Boil my two feet! From the time I went out, I didn’t run into a single good friend. Enough, enough of this—I’ll just die! Cuige: No matter what happens, all you can talk about is dying. Think of all the ways you had fun carousing with that Liu Longqing and that Hu Zichuan. And what did I ever get out of it?! You have no other way out now; you and I will have to go to Uncle Li to beg for some scraps of food. Rascal: What are you saying, Sister? That’s nothing but going begging for a beating. When Uncle sees me, if he’s feeling lenient, he’ll curse me, but if he’s being harsh, he’ll beat me. Go by yourself if you want to—I don’t dare. Cuige: Don’t worry, Rascal. When the two of us get to Uncle’s gate, we’ll inquire before we go in. If Uncle is at home, then I’ll go in by myself. If Uncle is not there, you and I will go in together. We’ll see Auntie: she’ll surely give us some money to help us out. Rascal: What you say is right, Sister. If Uncle is at home when we get there, you go in by yourself to see Uncle and to beg a bowl of food. When you’re full, wrap up some of the scraps and bring them out for me to eat. If Uncle’s not at home, then I’ll go in with you. When we see Auntie, quite aside from any money that she may give us, we’ll at least get to fill ourselves with one of her meals. Heaven! Poverty is killing me!

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(Rascal and Cuige exit.) (Elder’s wife, Madame Zhao, enters.) Madame Zhao: I’m Madame Zhao. My husband went out very early this morning. I see that now it is midday; why is he not back yet? Servants, prepare tea and food. He ought to be coming anytime now. (Rascal and Cuige enter.) Rascal: We’ve reached their gate, Sister. You go in first. If Uncle’s at home, don’t tell him that I’m here. But if he’s not, come out and call me. Cuige: All right, I’ll go first. (Greets Madame Zhao.) Madame Zhao: Servants, why have you let this beggar in? Cuige: I’m no beggar, Aunt; I’m Cuige. Madame Zhao: Ah, you are Cuige! Ah, my child, why are you in such a state? Cuige: Rascal and I are living in a broken-down tile kiln by the south wall of the city now, Aunt. Aunt, the suffering is killing me! Madame Zhao: Where is Rascal? Cuige: He is at the door. Madame Zhao: Tell him to come in. Cuige: I’ll go call him. (Rascal sleeps.) He’s sleeping; I’ll wake him up. (Calls.) Rascal! Rascal! Rascal (awakens:) I’ll beat you, you ugly bitch! Heaven! You spoiled my good dream. And just at the best part! Cuige: What were you dreaming about? Rascal: I dreamed that I was in Moonlight Tower with Miss Neglected Beauty. The two of us were singing “Aguling” from the beginning.78 Cuige: And your mind is still on such things! Go in to see Aunt. Rascal (sees Madame Zhao, weeps:) Aunt, I’m dying of poverty! Is Uncle at home? When he comes home, he’ll want to beat me. Please talk him out of it, Aunt. Madame Zhao: I suppose you have not eaten, child? Rascal: Where would I get anything to eat? Madame Zhao: Servants, first fix noodles and bring them for our guests. I’ll let you have a good meal, children; your uncle is not at home. Now eat, eat! (Rascal eats noodles. Elder enters.) Elder: Some bastard on a fine horse with an engraved saddle—he was half drunk—was riding along as if he were flying, shaking his two sleeves in the spring breeze, stirring up all the dust and dirt on the street. Look at him! Bah! It nearly blinded my old eyes! (Sings:) [Zhonglü mode: Powdered Butterflies] Who is that youthful scamp: Born into a peaceful age with no sorrows or cares; In vain did he have grand and handsome looks And sport that mien of distinction.

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Odds are he’s on his way to strum the lute or gamble, Showing no concern for his family’s fortune.79 When would he ever seek old scholars of renown To learn the classics by chapter and verse?80 [Intoxicating Spring Wind] No concern that days and months fly by like juggled balls,81 That the world will pass on like an overnight shower. Now that my sun is setting among the mulberries and elms, What use am I, rotten old timber?82 But I do know that Odes and Documents are models to awaken the world,83 That loyalty and filial love are the bases for establishing oneself— That wealth and property are fortuitous things. (Speaks:) I have arrived home already. (Sings:) [Sounds of Shouting] Just now I walk along the highway, leaning on my staff, Step by step, Until I pass between my gateposts. (Sees Rascal, becomes angry and speaks:) Who is that over there eating noodles? Rascal (startled:) I’m dead! Elder (sings:) Suddenly raising my head here, I just now perceived him. Why is he standing there so apprehensively— Why does his courage fail him? Cuige: Your daughter-in-law bows to you. Elder: Stay out of this! (Sings:) [Trimming a Silver Lamp] I really do not have to bear with you, wastrel, and your wife, Truly I need not care about you—my destitute kith and kin. For a thousand reasons, this fellow cannot be tolerated; Even the five corporal punishments could not repay him for his crimes! (Speaks:) Rascal, what have you got to say? (Sings:) I taught you how to become an honorable man, To become a man of substance. Why then did you brag and slander me behind my back? (Speaks:) Haven’t you said, “My surname is Li, yours is Zhao—how are our families related?” (Sings:) [Mustard Green] What face have you now to cross my threshold again? Why are you not attending to those two scoundrels?

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(Rascal leaves fearfully. Elder speaks:) Where are you going? (Sings:) Fear sets his hands, his feet all atremble; Strange, what could you possibly fear from me? That the soup for our little beggar lacks ginger or vinegar? (Speaks:) Have you not put it down yet? (Sings:) Then go have roast mutton at some restaurant! (Rascal shakes with fear, his chopsticks rattling against his bowl. Elder beats him.) Madame Zhao: Do not beat him, husband! (Rascal goes out the gate.) Rascal: Aunt, he’s beating me to death! Now I want to go into business, but I have no capital. I could earn big profits in the wink of an eye. Madame Zhao: I will give you this string of cash as capital, child. Rascal: Don’t worry, Aunt; I’m going to do some business now. (Rascal momentarily exits, then reenters.) Aunt, I took this string of cash and bought a package of charcoal. Madame Zhao: What business are you doing? Rascal: I’m selling charcoal. Madame Zhao: How is the selling of charcoal going? Rascal: With my one string of cash as capital, I sold one string’s worth and made a profit of one string. And I still have two packets of charcoal left to give you as interest, Aunt, to warm your feet with. Madame Zhao: We have some here; you take this home and use it yourself. Rascal: Aunt, I’m going into some other business now. (Rascal momentarily exits, then reenters, shouting:) Vegetables for sale: greens, cabbage, red-rooted spinach, coriander, carrots, scallions! Madame Zhao: What business are you in this time, child? Rascal: Aunt, tell Uncle for me that I’m selling vegetables. Madame Zhao: You stay here, child; I will tell Uncle. (Sees Elder.) Good news, husband: Rascal is doing business and is making a profit! Elder: I do not believe it. What kind of business is he in? Rascal: First I was selling charcoal, but now I sell vegetables. Elder: When you sold charcoal, what did people say? Rascal: Some people said, “Rascal is selling charcoal—what a shame! When he was rich, he rose up just like a bonfire, but now that he’s broke, he’s crushed.” Elder: What is crushed? Rascal: The charcoal is crushed! Elder: Look at that fool—still not serious! Rascal: Now when I sell vegetables, some people also say, “When he was rich, he kept company with Liu Longqing. Even though now he’s broke, he still ‘takes those melons around.’ ”84

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Elder: Does someone else carry your loads of vegetables, or do you carry them yourself ? Rascal: Uncle, why would you even ask things like that? Do I have so much capital that I dare hire someone else to carry them? Suppose he carried it off somewhere — how would I find him? Elder: Do you go down the main streets or the back alleys? Rascal: I go down both the main streets and the back alleys. Elder: Can you hawk your vegetables and carry your load at the same time? Rascal: If I didn’t hawk them, how would anyone know that I had vegetables for sale? Elder: Do you do the hawking, or does someone else call for you? Rascal: I hawk them myself. Elder: Servants, all of you come and listen to how Rascal hawks his vegetables. Rascal: Uncle, if you want to hear, I’ll walk ahead and you follow along behind and listen. But send those servants back, Uncle; once they were mine, but I sold every one of them myself. Elder: If you do not hawk your vegetables, I’ll beat you to death, you scoundrel! Rascal: I know why he wants me to hawk for him—he means to shame me! If I don’t, he’ll beat me again. So I have no choice but to do it: Greens! Cabbage! Red-rooted spinach! Carrots! Coriander! Scallions! (Shows anguish.) Heaven! Shame is killing me! Elder: How pitiful he is! (Sings:) [Red Embroidered Shoes] In days gone by, Behind lovebird-embroidered bed curtains You held forth in the amorous game of clouds and rain. Ah, child: In days gone by, With rich fare spread out on tortoiseshell plates, You spoke so cleverly with such fine words; Until, dappled with shadows of flowers, you had someone help you away. Today you shoulder two baskets on a pole, Dragging along your clothing, And unashamed go hawking through the streets. Rascal: I never listened to your instructions before, Uncle. Only now after suffering poverty do I know the importance of money. I have woken up! Elder: Who said that! Rascal: I said that. Elder: Aiya! Ah, son, what pain you have caused me! (Sings:) [Fragrance Fills the Courtyard] You have awakened, you blithe drunkard of Gaoyang; Now shouldering two baskets of cabbages— Do you seek a few strings of lucky pennies?85 (Speaks:) Rascal, how much money have you cleared today?

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Rascal: With my one string of cash as capital I sold cabbage all day and cleared a string. Elder (sings:) You can part with five hundred coins: Buy some mixed flour to take home to your ruined kiln, And buy yourself a little oil, salt, and soy sauce. Rascal: Whose stomach dares eat oil, salt, or soy sauce? Elder (sings:) Ah, son! Take the leftover vegetables that you could not sell . . . Rascal: If we eat them, it will cut into my capital. I’ll just sprinkle a little cool water on them; I can still sell them. Elder (sings:) Then the gods of your five viscera will not break their meat fast today. (Speaks:) Rascal, just buy yourself a little roast mutton. Rascal: I wouldn’t dare eat it. Elder: Then buy some fish to eat. Rascal: Uncle, with no more capital than this, how could I dare to eat fish! Elder: Then buy some pork to eat. Rascal: I wouldn’t dare buy any of that either. Elder: If you wouldn’t dare buy any of that, what will you eat? Rascal: Uncle, if I bought some millet from the granary, I wouldn’t dare grind it—I’d be afraid that I’d waste some. I’ll just pick out those vegetable leaves that I can’t sell and stew them. But I won’t dip them in salt or smear them with soy sauce; I’ll just eat them with a bowl of thin gruel. Elder: Wife, I asked Rascal if he would buy some fish, and he said, “I wouldn’t dare eat it.” I said, “You buy some pork to eat,” and he said, “I wouldn’t dare eat it.” I said, “If you wouldn’t dare buy any of that, what will you eat?” He said, “I’ll eat thin gruel.” I said, “Can you eat thin gruel?” And he said, “I can.” (Sings:) Ah, wife, Would that he had learned earlier where his path was leading! Think how they suffer now in their ruined tile kiln! (Speaks:) True it is that “If you do not suffer the worst of hardships, you can never become a man above other men.” (Sings:) Ah, son, You must persist with all your strength. Rascal: I was “deluded and not persuadable,” but I “awoke on the brink of disaster.” Elder: That was the first good thing you have said in your whole life. If you do as I say, within three to five days I will make you into the richest of men. (Sings:) [Coda] This sea of karma has no shore, no limit to its suffering; There’s no reprieve or deliverance from pain in that pit of poverty.

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Waves in the sea of karma knock a thousand prostrate, none can escape; Even with ten thousand somersaults, you’ll not escape from that pit of poverty. (Elder and Madame Zhao exit.) Rascal: Sister, let’s go home. Heaven! Poverty will surely kill me! (Rascal and Cuige exit.) (Master Li enters.) Master Li: I’m Little Brother Li. Father told me to go invite Little Brother Zhao to a banquet. Here I am already at the broken-down kiln by the south wall of the city. I’ll just have to call him. Little Brother Zhao! (Rascal and Cuige enter; they greet Master Li.) Rascal: Why are you here, Young Master? Master Li: Little Brother, I come on my father’s orders. He invites you to a banquet tomorrow. Rascal: If Uncle invites us over to a banquet, of course the two of us will come. Master Li: It would be best if you came a little early. (Exits.) Rascal: He must be inviting us to a banquet in order to shame me. But if Uncle invites us, it would be no good not to go. When we get there, don’t dally: you go with him to glean the fields and scour the ground, and I’ll carry water and tote the slops. Heaven! Poverty will surely kill me! (Exit together.)

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(Elder enters with Madame Zhao and Master Li.) Elder: Today is the anniversary of my humble descent.86 Since I have arranged a banquet and invited everyone in the neighborhood to celebrate this new residence, it will be convenient to fete the young squire at the same time.87 Thus yesterday I sent Little Brother to invite Rascal, but I have not seen him arrive yet. All of my dear neighbors will probably come soon. (Neighbors enter.) Neighbors: We are all people of Memorial Arch Alley in Yangzhou. Some time ago when Zhao Guoqi was on the brink of death, he entrusted his son, the Rascal of Yangzhou, to the Elder of Eastern Hall. Who would have thought that Rascal would squander the entire family fortune! Now even the fine house has been sold to the Old Master of Eastern Hall. Since this is the Elder’s birthday, he has invited in all of his friends and neighbors to drink wine. He has also invited those two beggars, that bastard Rascal and his wife. But we don’t know why. We must go to celebrate both the Elder’s birthday and to congratulate him on his new house. We’ve had to walk a little way, but here we are already. Young Master, go in and report that all of us from the neighborhood have come especially to congratulate your father on his birthday.

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Master Li (goes inside and reports:) Father, all the neighbors have come to congratulate you on your birthday. Elder: Invite them in quickly. Master Li: Please came in. Neighbors (greet Elder:) All of us neighbors are here first to congratulate you on your birthday, Squire. Second, we congratulate you on this new residence. Elder: I thank you very much, neighbors. Please be seated. Servants, arrange the wine and the meats on this side. We will begin the banquet as soon as Rascal and his wife arrive. (Rascal and Cuige enter.) Rascal: I’m the Yangzhou Rascal. This is my uncle Li’s gate; we’ll just go in. (Rascal and Cuige greet Elder.) Your daughter-in-law and I are here, Uncle. What do you have to say to us? Elder: You have come! (Sings:) [Shuangdiao mode: Song of New Water] Today in my painted hall in warm spring fine guests I feast, As a shower of red blossoms dance in a breeze from the east. How fine each delicacy that I have prepared, How stylishly dressed each guest that I toast. Rascal (aside:) Whew! Shame will surely kill me! Elder: Rascal. (Rascal does not respond.) (Elder sings:) I see his secret sorrow; Silent, he stealthily dries his tears. [Intoxicated by the East Wind] I wanted you to establish yourself by following the merchant’s path; Who told you to become a lover of harlots, heedless of the aftermath? I wanted to pour heart and soul into teaching you. Rascal: Whew! He’s taunting me in front of all of these people! If I had known that this would happen beforehand, I wouldn’t have come. Elder (sings:) Why do you only gnash your teeth in resentment? It is all your fault you’ve no home to which you can run. Rascal (fumbles around with his hands:) I’m dying of shame! Elder (sings:) Why do you fumble with your sleeves, wring hands for no reason? (Speaks:) My child, why are you so nervous? (Sings:) I let you suffer hunger and cold in dismay Just so that you’d return to the right path.88 (Speaks:) I have a few words to say to all my relatives and friends gathered here. Originally my family lived in Dongping prefecture, but for the sake of business, I came here to live inside the Eastern Gate of Yangzhou in Memorial Arch Alley. My neighbor

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to the east was Zhao Guoqi, who was Yangzhou Rascal’s father. For thirty years we were good friends. Then on the day he fell ill, he sent Rascal to invite me over to his house. I asked him about the cause of his illness, and he said it was all because his child, Rascal, was so unworthy. “I’m worried sick that he’ll surely ruin the family. The reason I’ve invited you over today is especially to entrust Rascal and his wife to you, to look after for the rest of your life.” I said, “I’m lacking in both virtue and talent, and moreover I’m not a close relative. I’m just not worthy of this weighty responsibility.” Even though Zhao Guoqi was desperately ill, he knelt before me. I could only accept. Rascal, that document that your father had you mark on the front and sign on the back that day—what did it say? Rascal: I’ve never read it. Could it be a document giving you power over whether I live or die? Elder: No, child, it was not a document giving me such powers. Face our neighbors and read this document out for me in a loud voice. Rascal: As you wish. This is written in my father’s own hand, and the mark on the front and the signature on the back are mine. Ah, Father! The document is still here now, but where is the man who wrote it? (Laments.) Elder: Do not cry; just read the document. Rascal: All right. (Reads the document.) “Today I, Zhao Guoqi, . . .”—that’s my father’s name—“a resident of Memorial Arch Alley inside the Eastern Gate of Yangzhou, am so seriously ill that I do not expect to recover. Because my son, the Yangzhou Rascal, is unworthy, I have secretly deposited five hundred ingots of silver at the home of my old friend Li Maoqing to be used for my son Rascal in his days of distress and poverty.” My eyes must be deceiving me! Let me read it again! (Rereads the document.) Give it back to me, Uncle. Elder: Give what back? Rascal: Give what back? It’s written here in black on white! Elder: That is what your father wrote, but actually the silver is all gone. Rascal: Uncle, I don’t dare hope for five hundred ingots; just give me a tael or two—let me hold them for a while, and then I’ll give them back! Elder: There you go again, Rascal! Remember how, after your father died, you sold off all your fields, your businesses, and your household property? But I could not bear to let other people take possession. Secretly I sent people to buy them; I did so with those five hundred ingots of your silver. I have recorded the specific dates and sums spent for these purchases. That oil shop of yours, the pawnshop, the mill—you wanted to sell them all, but secretly I sent people to buy them back. I did so with those five hundred ingots of your silver. I have recorded the specific dates and sums spent for these purchases. Of those donkeys and horses and your other livestock, your young and old maidservants, some have left and some have died, but at first when you sold them off, I secretly sent people to buy them. The five hundred ingots of silver covered them too. I have kept an account book. Your house, halls, rooms, and cottages,

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your long benches, chairs and tables, your zither, chess set, books and paintings, your household articles—they are all entered here. Now I will hand them over one by one; if there is any deficiency, I will repay you fully. Hear me, Rascal: (recites:) Your father’s secret store of snowy-white silver Has been gradually spent over these ten years; Now I restore to you all of your things; For honesty like this truly I have few peers! (Speaks:) Rascal, (sings:) [Wild Geese Alight] Have you not heard, “Better to have near neighbors than distant relatives”; How would I dare to speak falsely, to betray good faith? Today every single item will be returned; You will receive each and every object back again. Rascal (kneels before Elder:) I thank you very much, Uncle and Aunt! How could I have known there would ever be a day like this! Elder (sings:) [Water Sprite] You see, from front mansion to rear courtyard, all spick-and-span. Rascal: This front hall and the rear apartment are in much better repair than before— entirely different now! Elder (sings:) Painted chamber and orchid hall laid out on a new plan. Rascal: Uncle, are the granaries empty, or is there grain in them? Elder (sings:) In the granary rice and wheat fill a room-sized bin. Rascal: Oh! And is the pawnshop open as it used to be? Elder (sings:) There are gold and silver in the pawnshop safe. Rascal: Are there still those farms outside the city wall, Uncle? Elder (sings:) On your farms there are livestock in herds; Your house as sound as a bronze dipper, Your fields like silk brocade of a hundred qing. (Speaks:) Rascal, Cuige, (sings:) After this, never again mortgage them to another. (Speaks:) Son, bring a table over here. Let Rascal and his wife take wine cups and serve their neighbors and relatives. Rascal: Thank you very much for your great kindness, Uncle and Aunt! If you hadn’t redeemed us, we would have lived out the rest of our lives in that tile kiln! Sister, bring the wine here. Let me first present it to Uncle and Aunt: please drink a full cup.

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Neighbors: Little Brother Zhao, the two of you could not repay such great kindness even with your lives, let alone with an offering of wine! Elder: I will drink it, child; I will drink it! Rascal (again presents wine:) I invite all our neighbors and relatives—each and every one—to have a full cup. Neighbors: Wonderful, wonderful: we’ll all drink! Rascal: I again present a cup to Uncle and Aunt. There’s no way for me to repay such great kindness in my present life. But in the next world, the next life, I should be your dog or your horse to repay you, Uncle and Aunt! Elder (sings:) [Fake Cards]89 I see his deep sincerity as he offers the jade goblet, Wishing only for another life to repay our kindness. Here is the inheritance that your father deposited in secret; It decreases our Li family property not a whit. (Liu and Hu enter.) Hu: Since we’ve heard that Little Brother Zhao is again as wealthy as before, we’ve come to find him. (Hu and Liu greet Rascal.) Liu: Don’t you recognize us anymore, Little Brother Zhao? Come drink with us! Rascal: I’ve reformed now, Brothers; I wouldn’t dare get involved with you again. You go find someone else to join you. Liu: What are you saying? You’ve reformed? So have we! Now we’ll help you to be a householder! Elder: Bah! Servants, chase out those two ne’er-do-wells for me! Liu: Speak up for us, Little Brother Zhao! Rascal: Get out of here fast—go try your luck swindling someone else! Elder (sings:) [Paddling on the River] Just as all our relatives and neighbors Were happily chatting and talking, I saw those two villains Leading their red-skirted bawds Bursting into our hall— Scaring away two of my three souls! Ah, son, You may not be afraid of them, but I certainty am! [Joy at the Palace] Just as my child has made a man of himself, You two try to teach him the song “Spring’s Ended, Spring’s Come.”90 He is to get that seal of valor for fighting over courtesans at the Garden of Beautiful Spring—

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Don’t you dare provoke him again, you mutilated generals!91 You may blather till heavenly flowers flutter,92 But now his fortunes have changed.93 How could he blunder again into the maze that confounds souls? I exhort you two lecherous scoundrels: Go find some other young gentleman who should meet his doom! (Speaks:) Rascal, listen: (declaims:) Your inheritance, solid as a bronze dipper, You squandered all in lusting after “flowers.” Ignoring all my entreaties, You followed your friends’ every whim. On your father’s charge I bought back all you had sold, Upon your reform I returned principal with interest. Thus the unworthy son of my neighbor to the west has concluded “The Elder of the Eastern Hall Reforms a Prodigal Son.”

Topic: The Neighbor on the West Drafts a Document Entrusting His Orphan. Title: The Eastern Hall Elder Reforms a Prodigal Son.

n ot es 1. Jia Zhongming’s comment is cited in Zang Maoxun, YQX, 2:685. Meng Chengshun’s comments are cited in Meng Chengshun ji, 584. 2. Loafers and spongers are often named Liu Longqing and Hu Zichuan in Yuan drama. 3. Qin Jianfu self-consciously alludes to this by citing Lunyu zhushu 8.6. 4. Besides romances of scholars and courtesans such as Scholar Tao Writes “Happy Times” While Drunk (Tao xueshi zuixie fengguang hao 陶學士醉寫風光好), Prefect Qian Tactically Favors Xie Tianxiang (Qian dayin zhichong Xie Tianxiang 錢大尹智寵謝天香), Li Yaxian Amid Flowers and Wine at the Winding Stream (Li Yaxian huajiu Qujiang chi 李亞仙花酒曲江池), Du Ruiniang Shows Her Wit at Golden Thread Pond (Du Ruiniang zhishang Jinxian chi 杜蕊娘智賞金綫池), Jing Chuchen Finds a Match for the Jade Comb (Jing Chuchen chongdui yushu ji 荊楚臣重對玉梳記), there are also plays about young men of good family so enthralled with the theater that they join theatrical troupes; for example, A Playboy from an Official Family Takes the Wrong Career, a southern play mentioned in the introduction. 5. See Zang Maoxun, YQX, 2:679–734; Maiwang Studio Collection, no. 45; Meng Chengshun, Xin juan gujin mingju leijiang ji. 6. Dongping prefecture (fu) is in modern Shandong. 7. Yangzhou nu 揚州奴, “the Rascal of Yangzhou.” The Xijizi version explains that “his name is taken from this prefecture.”

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8. This title, jieshi 節使, seems at most to be only semiofficial. 9. Liji zhushu 1.37, “Quli” 曲禮: “Words outside do not enter over the threshold, words inside do not come out over the threshold” (Waiyan bu ru yu kun neiyan bu chu yu kun 外言不入於梱，內言不出 於梱). See also Sun Xidan, Liji jijie, 41. The dictum is based on the idea of the strict division of male and female spheres. “Words inside” pertain to the women’s sphere and should not “come out”; “words outside” concern men’s endeavors and should not “enter.” 10. Jiao Yanshou (first century b.c.e.), Jiao shi Yilin 170.4: “Being close to earth and far from heaven, one is to enter the Yellow Springs” (Jindi yuantian xiaru huangquan 近地遠天，下入黃泉). See Zhang Yuchu, Shao Yizheng, and Zhang Guoxiang, Zhengtong Daozang 60.165b. 11. Here, Dongtang Laozi 東堂老子, “the Old Master of Eastern Hall,” a term of address also used in the last act, but he is usually referred to as Dongtang Lao, “the Eastern Hall Elder.” 12. According to Yangzhou Rascal, for his father to fail to treat him with due dignity amounts to a blemish that would diminish his life span. Demeaning address of exalted persons would “diminish one’s life span,” but this “principle” would never apply to a father addressing his son. 13. Shao Yaofu is the sobriquet of Shao Yong 邵雍 (1011–1077), a Northern Song philosopher who based his cosmology and theory of numbers on Yijing, or Classic of Changes; see Wing-tsit Chan, Source Book, 481–94. The second quotation is from Lunyu zhushu 1.11; this translation is from Wing-tsit Chan, Source Book, 4–5. 14. A common Yuan idiom referring to something beautiful and solid. 15. “Jade rings” alludes to a legend recorded in the Xu Qi Xie ji 續齊諧記 by Wu Jun 吳均 (469–520) and incorporated in a note to the biography of Yang Zhen in Fan Ye (398–445), Hou Hanshu (54.1759). “During the Han period, Yang Bao, then nine years old, rescued and cared for a small bird which had been injured by an owl. When it was fully recovered he released it. That night a youth in yellow robes brought him four jade rings from the Queen Mother of the West [Xiwang Mu 西王母]. The youth carried them in his mouth.” This was an omen of the success of Yang’s progeny. See Yang Hsien-yi and Gladys Yang, Man Who Sold a Ghost, 114. Tying knots in grass: according to Zuozhuan (Xuan 15.5, Yang, 764), Wei Ge was ordered by his ailing father, Lord Wu of Wei, to marry off the latter’s concubine after his death. But when the lord’s illness became critical, he asked to have the concubine buried with him. Soon after, the lord died. Wei Ge felt that his father’s final command had been the result of delirium and thus did not represent his true wishes concerning the girl. Consequently, he married the girl off. During a later battle with Qin, Wei was able to capture his enemy, Du Hui, only because Du was tripped up by clumps of grass that had been tied together by an old man. This figure appeared to Wei Ge later in a dream, identified himself as the girl’s father, and said that he had tied the grass to repay Wei for sparing his daughter’s life. 16. A line from the Yuefu song “Gu Junzi xing” 古君子行 that means, in effect, do not place yourself in compromising situations. See Lu Qinli, Xian Qin Han Wei Jin Nanbeichao shi 19.1064. 17. Lunyu zhushu 8.6; the passage continues, “. . . without his being deflected from his purpose even in moments of crisis, is he not a gentleman? He is, indeed, a gentleman.” Translation from Lau, Analects, 71. 18. Chen Zhong and Lei Yi were inseparable friends of the Later Han period; see the biography of Lei Yi in Fan Ye, Hou Hanshu 111.2686–87. 19. Lunyu zhushu 2.24; Lau, Analects, 16–17. 20. During the Yuan period certain official documents had to be signed in this manner to be valid, thus one could sign a document without having an opportunity to read its contents; see Tong Fei, Yuan qu, 129. 21. At this point, the Xijizi version reads, in part, “Zhao: Move a table in front of your uncle . . . Prepare incense. Rascal: Bother! Nobody farted; why do we need incense? Servants, prepare the incense.

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22. 23. 24. 25. 26. 27. 28. 29. 30. 31.

32.

33.

34.

35.

36. 37.

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(Inserts incense into the burner and lights it.) This must be an auspicious day for setting up an earth god shrine!” Literally, “You’ve entrusted your wife and the care of your son to me.” Here wife and son are mentioned together as a set expression: Zhao’s wife is dead. An allusion to Lunyu zhushu 16.13, in which Confucius’s son respectfully hurries to receive his father’s instructions. See Lau, Analects, 166–67. The “Three Isles” are the mountainous islands of Penglai, Fangzhang, and Yingzhou off China’s east coast, the home of the xian 仙, or “immortals.” The “Five Lakes” are five lakes in east-central China. The original has a nonsense compound, “horse inscription” or “horse flat” (ma bian 馬扁); the two graphs combined constitute the word for “swindle” (pian 騙). Literally, Little Elder Brother (xiaoge 小哥), a term of respect used to address a younger man. This suggests that the term of address “Little Brother” should be applied only to a son of an official by friends of his age group. That is, too experienced in the ways of the world. The Chinese term for “the beans have leaked out,” loudou 漏豆, is homophonous with that for “the bottom has fallen out,” loudou 漏兜. That is, the house is under protection and cannot be easily tampered with. Xiezhi li zhashang yi zhitou 脇肢裏扎上一指頭, literally, “stick a finger between his ribs.” Some commentators suggest this means “to offer a bribe.” But it may also mean poking someone at a sensitive spot so that he will dodge or back off. Xijizi, lines 3–14 of the aria: “Although the father bore grief and anxiety, / For the son it’s music and celebration every day. / He strove for wealth yet was fated to be poor—worthy, but stupid; / Yet for that wastrel the family is rich and the son can be proud. / I think of how my friend from morning to night, / Through the night until dawn, / Exhausted body and mind / Breaking laws and regulations. (Speaks:) For those few coins, (sings:) He ignored his father, / Even forgot his friends. / The father devoted all to amassing wealth, / The son in his greed knows neither day nor night. . . .” That is, he would realize everything is but a dream. This alludes to the Tang tale “The World Within a Pillow” (Zhen zhong ji 枕中記) by Shen Jiji 沈既濟 (late eighth century; Taiping guangji 82.526–28). In this story a young man named Lu dreams he lives out a lifetime of success in every arena, only to lose everything in the end. He awakens, enlightened to the emptiness of earthly accomplishments. In the Yuan play Awakening from the Yellow Millet Dream on the Handan Road (Handan dao shengwu huangliang meng 邯鄲道省悟黃粱夢), a collaborative work by Ma Zhiyuan and three other playwrights, Lu is identified with Lü Dongbin 呂洞賓 of the Daoist Eight Immortals. This play is included in Zang Maoxun, YQX, 4:2014–44. Both are symbols of heedlessness and obliviousness in the face of imminent danger. In Lüshi chunqiu jiaoshi 13.722–23, the happy finch, unaware that it will soon be destroyed by a spreading fire, is compared to ministers who seek personal well-being as their state is threatened. In Liu Xiang, Shuoyuan jinzhu jinyi 11.359 (“Shanshui” 善說), we read of wrens living snugly in their nests among the reeds, unaware that when a storm hits the area, the reeds will snap and bend, the baby birds will tumble out of the nests and die, and the eggs will be broken. Tongjian jieyao 通鋻節要 is a condensed version of Sima Guang’s 司馬光 (1019–1086) history Zizhi tongjian 資治通鋻 (Comprehensive Mirror for Aid in Governing). During the Yuan period, a Mongol version was used as a textbook for Mongolian and Chinese students in government academies. There is an oversight here: Yangzhou Rascal is said to be thirty at the beginning of the play, and ten years have passed. Instead of these last three lines, Xijizi has “Teeth masticating, lips curled up, you indulge in your antics.”

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38. Literally, “a wife of a respectable man” (liangren fu 良人婦) who is eager for an illicit liaison. In effect, then, Yangzhou Rascal targets women both from a debased (jian 賤) class, like actresses (xin dan se 新 旦色), who were considered prostitutes, as well as respectable (liang 良) married women. 39. Toad and cassia are found on the moon in popular belief and are used to indicate success in the official examinations. 40. Yan Pingzhong: Yan Ying, a minister of the state of Qi during the Spring and Autumn period known for his long-lasting and close friendships; see Shiji 62.2134–37. 41. “Liu Yao” 六幺 (literally, “Number Six”) is also written as “Lü Yao” (綠腰, “Green Waist”). Both “Green Waist” and “Rainbow Skirts” were famous dance tunes during the Tang dynasty. Both are mentioned by the poet Bai Juyi 白居易 (772–846) in his “Lute Song” (Pipa xing 琵琶行). Because Qin Jianfu is alluding to Yang Guifei, he seemingly means to refer to Bai Juyi’s “Song of Lasting Sorrow” (Chenghen ge 長恨歌), in which “Rainbow Skirts” is a symbol of oblivious sensual indulgence. That poem describes how the Tang emperor Xuanzong and his consort, Yang Yuhuan, devote their lives to passion and pleasure until the rebellion of An Lushan brings disaster down upon them. 42. Xijizi: “Who would have thought the slender waists soft as willow branches . . .” 43. “Cassia Fragrance” (Guizhi xiang 桂枝香) alludes categorically to songs one would hear in pleasure quarters. “Lotus Blossoms Falling” (Lianhua luo 蓮花落) is an improvisatory song form with threeword lines; lyrics for it could easily be made up on the spot. Beggars used this form in appealing for alms. 44. Xijizi: “Someone sets up a snare right there; / None dares to tangle with it again. / Their souls melt away, their spirit diminished at the very mention of it.” 45. Literally, “little lamb brew” (yanggao 羊羔), a heady brew made from alcohol, spices, and tender lamb pieces. 46. Liangshanpo 梁山泊 is the great marsh used as a bandit lair in the novel Water Margin (Shuihu zhuan 水滸傳). Xijizi has “a hundred thousand” instead of “eight hundred.” 47. “Certificates” refer to government certificates that stipulated the amount of salt, a very profitable commodity, a salt merchant would be allowed to sell. On the government monopoly on the sale of salt and tea during the Yuan dynasty, see chap. 4, this volume, n. 46. Xijizi: “In those peach blossom petals fluttering down / Are hidden snowy waves reaching to the sky, / As well as gusty wind tearing through the land.” 48. A reference to the Golden Valley estate built by the fabulously wealthy Jin-dynasty official Shi Chong (249–300), where he held lavish banquets. 49. Xijizi: “No matter how quick you are with words and quips.” 50. “Sat and eaten . . .”: proverbial expressions describing a person who squanders his inheritance. 51. The phrase in the original, gezhabang 各扎邦, captures the sense of very quick actions; here it means “in no time.” It can be onomatopoeic, usually meaning “kerplunk” or something of the sort. See Johnson, Glossary of Words, 78. 52. On the use of paper money (chaoyin fa 鈔引法) during the Jin dynasty (1115–1234), see Tuotuo, Jinshi 48.1069–74. 53. A type of candied fruit. 54. Toutang 頭湯, which we have translated as “the first soup,” may be the same as tounao tang 頭腦湯, a soup with dumplings, meatballs, and eggs mentioned in Jin Ping Mei cihua, chap. 71. See also Lu Dan’an and Lu Kang, Xiaoshuo ciyu huishi, 973. It may also be related to the “brainstorming wine” (tounao jiu 投腦酒) mentioned in Selling Rice in Chenzhou; see chap. 3, this volume, n. 49. 55. “Miss Ever-Ready,” Yishijing 宜時景, evidently the name of a prostitute. Rascal invokes the Huayan jing (Flower Garland Sutra) because the word “flower” in the title also refers to courtesans. He is being

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57. 58.

59. 60. 61. 62. 63. 64.

65.

66.

67. 68.

69.

70.

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deliberately sacrilegious here: either he is comparing the courtesan’s songs to religious sermons, or he is referring to a song and dance about “finding the Flower Garland Sutra at the bottom of the sea.” There is a reference to the belief that this sutra was recovered from the palace of the Naga kings at the bottom of the sea in Flower Garland Sutra; see Lamotte, “Manjusri,” 71. “Brick kiln” or “tile kiln” are terms used to indicate a slum area outside a city and so do not necessarily have anything to do with a kiln. In many Yuan plays impoverished characters live in a “dilapidated kiln south of the city.” Xijizi: “There are several things you excel in that are hard to emulate. / Your knowledge of things past and present is truly rare.” Deng Tong was a minister much favored by Emperor Wen (r. 180–157 b.c.e.) of the Han; Deng was given special dispensation by the emperor to mint money and consequently Deng was very wealthy. See Shiji 125.3192–93; Watson, Records of the Grand Historian, 1:265–66. Xu You was a recluse who was sent a gourd for dipping water, according to a story from Cai Yong’s Qin cao; see Taiping yulan 762.3513. After using it, he hung it in a tree, but when its rattling in the wind began to annoy him, he threw the gourd away. Zigong was famous for his political acumen, rhetorical prowess, and astute mercantile skills. See Lunyu zhushu 11.19. Xijizi: “Just think, for my numbered years I bore in vain countless pains and hardships.” Xijizi: “Your words are shocking!” Xijizi: “The parents wish for nothing more intently than for their children to have a brilliant future.” Xijizi: “It’s just like playing with ice over fire!” Lord Mengchang (d. 279 b.c.e.), the noble title of Tian Wen, was a Qi minister who lived during the Warring States period. He is famous for having kept thousands of retainers (Shiji 75). Gongsun Hong was a Han official who entertained virtuous scholars in his eastern apartments (Hanshu 58.2621). Zuo Ci was a third-century ascetic and magician; his feats are described in Bowu zhi and Soushen ji; see Wang Genlin, Han Wei Liuchao biji xiaoshuo daguan, 204–5, 283. Xiang Yu, a contender for the empire at the fall of the Qin, was defeated by Liu Bang (Han Gaozu) in 202 b.c.e. (See chap. 2, this volume.) He is said to have sung a song about his strength, which could “pluck up mountains” (Shiji 7.333). Bashan juding 拔山舉鼎, “lifting mountains and hoisting tripods,” is a set phrase denoting great strength. Because of the association of sovereignty with ritual tripods, this effectively means “overturning the state.” “Nothing but the name . . .” is a line from “Stopping at Qinhuai River at Night” (Qinhuai yepo 秦淮夜 泊), a quatrain by Du Mu 杜牧 (803–852); translation from Graham, Poems of the Late T’ang, 123. “The Sea of Darkness” refers to a place of suffering mentioned in Buddhist sutras. Traditional Chinese pills had a wax coating. Once it was removed, the pill could no longer stay intact and fresh and thus became worthless. “Bitter Cold Pavilion” is a facetious term for a beggar’s hovel that frequently appears in traditional fiction and plays. The Yuan playwright Yang Xianzhi wrote a play with the title Inspector Zheng at the Bitter Cold Pavilion in Wind and Snow (Zheng kongmu fengxue Kuhan ting 鄭孔目風雪酷寒亭); see Zang Maoxun, YQX, 5:2542–71. A reference to the Buddhist practice of releasing captured animals in order to gain religious merit. There were those, consequently, who captured animals only for the purpose of releasing them, a cruel corruption of the original meritorious act. The line also describes the villains’ treatment of Rascal. Xijizi: Instead of Lu Su, Liu Yi, and Bao Shu, three other historical characters—Shao Yong, Guan Zhong, and Tian Wen—are cited as exemplars of generosity, ritual propriety and righteousness, and nobility of mind, respectively. Lu Su was a very generous minister of the state of Wu during the Three

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75. 76.

77.

78. 79. 80. 81. 82.

83.

84. 85.

86. 87.

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Kingdoms period; his biography is in Chen Shou, Sanguo zhi 54.1267. Liu Yi was an arrogant gambler of the Jin period; his biography is in Fang Xuanling et al., Jin shu 85.2205–10. Bao Shu (also known as Bao Shuya) abnegates himself to recommend his friend Guan Zhong to the Qi ruler; see chap. 4, this volume, n. 34. Chen Deng was a famous knight-errant of the third century; his biography is in Chen Shou, Sanguo zhi 7.229–30. The twelfth level of the Jade Terrace refers to precincts of immortals where no humans can venture. Here the Elder is simply using the image to convey cold and isolation. The hour was struck only during the hours of darkness, ceasing with the dawn. The Elder seems to be implying that he could theoretically sue Rascal for unfilial conduct (wuni 忤逆), since Zhao Guoqi had invested in him a father’s authority. He may also be implying that, as his foster father, he could legally beat Rascal to death for unfilial conduct—which could be justified in some circumstances according to the Ming penal code. Literally, “ear root” (er gen 耳根), a Buddhist term referring to emotions roused by the auditory sense. Here it refers to the fact that Rascal was easily led astray by his companions’ persuasions. This jingle can also be found in Li Kui fu jing 李逵負荊, a Yuan zaju play by Kang Jinzhi 康進之, translated by James I. Crump as “Li K’uei Carries Thorns” in Birch, Anthology of Chinese Literature, 1:394. There may be an intentional pun in the prostitute’s name Geng Miaolian 耿妙蓮, something like “Evermore Marvelous Love.” “Double six” (shuanglu 雙陸) was a gambling game similar to backgammon. Xijizi gives considerably higher figures, for a total of “86 taels, 7 mace, 9.2 cents.” A mace is one-tenth of a tael. Neglected Beauty (Piezhixiu 撇之秀) is apparently the name of a courtesan. “Aguling” 阿孤令 (or “Ahuling” 阿忽令) is a tune title. Xijizi: “What does he know about Apprehension of Things and Perfection of Knowledge”? Xijizi: “Does he know what are the Six Arts—ritual, music, archery, riding, writing, and mathematics?” Jugglers move the balls very quickly; the line “the sun and moon are like juggled balls” (ri yue ru tiaowan 日月如跳丸) refers to the swift passage of time. “Rotten timber” is an allusion to Lunyu zhushu 5.10: “The Master said, ‘A piece of rotten wood cannot be carved, nor can a wall of dried dung be trowelled” (Lau, Analects, 38–39). Mulberry and elm represent an image probably derived from the biography of Feng Yi in Fan Ye, Hou Hanshu 47, in which these two trees indicate the western quarter where the sun sets. Here, by extension, they indicate the evening of life. Xijizi: “I am like that meager vessel, not worth speaking about, / Like that wall of dried dung that brings shame to my ancestors. / But the classics [literally, Analects and Mencius] are the timber to save the world.” Literally, “turning around with those melons”; the Chinese, na huzi zhuan 那瓠子轉, is a pun on nei Hu Zichuan 那胡子傳, “That Hu Zichuan.” “Drunkard of Gaoyang” is how Li Yiji describes himself in Shiji 97.2704. “Lucky pennies,” literally “green water beetles (qingfu 青蚨), is a term for copper coins derived from a story in Soushen ji 搜神 記: coins were smeared with the blood of green water beetles in the hope that they would always return after being spent. “Descent” is a polite reference to one’s own birthday. Xiao yuanwai 小員外, “vice director, junior grade,” is an official-sounding title taken by the wealthy and powerful; since it carried neither official responsibilities nor privileges, we have translated it here as simply “young squire.”

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88. Xijizi: “For the hunger and cold you suffered, I will prove the justification.” 89. This aria is not in Xijizi. 90. This is the first line of the beggars’ song “Lotus Blossoms Falling.” See the prologue of The Monk with a Bag and the Word Forbearance (Budai heshang ren zi ji 布袋和尚忍字記) by Zheng Tingyu (Zang Maoxun, YQX, 5:2689). 91. The text has “intact general” (wanti jiangjun 完體將軍). In Romance of the Three Kingdoms, Mi Heng mocks the Wei general Xiahou Dun, who lost one eye in battle, as the “intact general.” Despite Xiahou’s valor, the loss of his eye turns him, in some popular genres, into a butt of jokes and a clownish character totally out of keeping with his stature as a warrior. Hence it is possible for the Elder to address Liu and Hu as “mutilated generals”—replicas of Xiahou Dun as his character is popularly portrayed. 92. In Vimalakīrti Sūtra, a celestial maiden scatters flowers as the Buddha’s disciples listen to his sermons. 93. Xijizi: “He has just established himself again; / stop flattering him for his handsome appearance!”

6 t h e t I g e r head PL aque

LI ZhIfu T r a n s laTed by yo ram sze k ely, C.  T. Hsi a , Wa i -yee li , a n d Geor Ge kao

IntroductIon Wa I- y e e L I

t

he Tiger Head Plaque That Authorizes Its Bearer to Act on His Own Judgment (Bianyi xingshi hutoupai 便宜行事虎頭牌), or, in short, The Tiger Head Plaque, is the only extant play by Li Zhifu 李直夫 (ca. late thirteenth to early fourteenth centuries). As with many other Yuan playwrights, next to nothing is known about Li. Sun Kaidi opines that he served as an official in Hunan.1 The Register of Ghosts lists the titles of twelve plays by Li Zhifu and notes that he was a Jurchen whose alias was Pucha Liwu 蒲查李五 and that he hailed from Dexing.2 Judging from those listed titles, his oeuvre covers historical themes as well as romantic and domestic drama. At the beginning of The Tiger Head Plaque, the young Jurchen commander Shanshouma, played by the male lead, is a senior chiliarch (“leader of a thousand households”) charged with guarding a mountain pass against Liao raiders. News of his promotion comes during the visit of his uncle and aunt, who had raised the orphaned Shanshouma. He becomes the grand marshal of troops and cavalry and bearer of the Tiger Head Plaque, which authorizes him to act on his own judgment. His uncle, Yinzhuma, asks to be given his old post, and Shanshouma, though wary of Yinzhuma’s drinking habit, reluctantly agrees.3 Yinzhuma returns to his home in Bohai, where his brother Jinzhuma pays him a farewell visit, urging him to be vigilant and to abstain from drinking, although Jinzhuma’s most stirring arias describe his descent into poverty.

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Yinzhuma takes up his post at the mountain pass and resumes drinking. Infiltrating the border on a night of Yinzhuma’s revelry, Liao soldiers capture people and livestock. Shanshouma sentences his uncle to death for dereliction of duty and refusal to answer his summons. His family and subordinate officials appeal for leniency, and the sentence is commuted to flogging when it comes to light that Yinzhuma had pursued the enemy and recovered what was lost. The play concludes with the reconciliation of uncle and nephew. Much of the critical interest in The Tiger Head Plaque focuses on its Jurchen elements.4 The Jurchens were a seminomadic people originating in the Sungari Basin (present-day Heilongjiang province). Their rise was abrupt and explosive. They rebelled against Liao rule in 1114, began the conquest of the Liao empire, and, after defeating Song armies in 1127, gained control of all Song territories in northern China. The dynasty they established, known as Jin in Chinese, was in turn overrun by the Mongols in 1234.5 He Liangjun claims that the play is based on the story of the founding Jin emperor, Wanyan Aguda (1068–1123, r. 1115–1123) and cites the farewell scene in act 2 as somehow related to the parting between Aguda and his uncle. According to The Register of Ghosts, the topic and title of the play are, respectively, “A Minister of the Music Bureau Judges a Major Case” (Hangyuan xianggong da duan’an 行院相公大斷案) and “The Tiger Head Plaque of Emperor Wuyuan” (Wuyuan huangdi hutoupai 武元皇帝虎頭牌) (Wuyuan is the posthumous honorific of Aguda).6 Our play has a different topic and title and makes no mention of Aguda at all, and while it is possible that the reference may merely indicate that the plaque authorizes its bearer as the ruler’s deputy or that the plaque was instituted by Aguda, we cannot rule out the possibility that there was another play titled Tiger Head Plaque that was more closely connected to Aguda, and that its farewell scene somehow got incorporated into our play as act 2. Stephen West has noted that Jurchen musical tunes7 and references to Jurchen customs in act 2 evoke a Jurchen milieu, but he also convincingly demonstrates the uneasy connection between act 2 and the rest of the play, inasmuch as the deliberate melding by the playwright or later editors still betrays incongruities.8 More generally, West questions the assumption that The Tiger Head Plaque is “an authentic portrayal of Jurchen life and environment,” citing anachronistic confusion of Jin and Yuan ranks, titles, and institutions.9 The play thus tells us more about Jurchen life in the late thirteenth or early fourteenth century than about the historical reality of Jurchens in the early twelfth century. The exotic costumes and hairdos of the Jurchen characters on stage must have made for interesting theatrical spectacles; their penchant for music, theater, and the pleasure quarters would have added a self-referential dimension. The handful of extant thirteenth and fourteenth century plays that contain Jurchen elements all feature such music lovers or habitués of the pleasure quarters.10 In The Tiger Head Plaque, Yinzhuma’s drinking is linked to his love for music, and Jinzhuma’s wastrel son, mentioned in passing, is also an echo of this theme. The Tiger Head Plaque deals with one of the most fundamental questions in Chinese ethics: what happens if there is a conflict between public justice or political duty

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and private bond, concerning especially the filial piety that a child owes his or her parent? A parent’s sacrificing of his or her child for a “higher good” is usually portrayed as noble self-sacrifice;11 the case is very different when a son or daughter is similarly torn. In Lunyu, when Lord Ye lauds the honesty of a man who exposes his father’s theft of a sheep, Confucius replies, “In our parts, an honest man is different from that: when a father conceals the truth on behalf of his son, and when a son conceals the truth on behalf of his father, there is honesty in it” (Wudang zhi zhi zhe yi yu shi fu wei zi yin zi wei fu yin zhi zai qizhong yi 吾黨之直者異於是：父為子隱，子為父隱，直在其中矣).12 When Taoying asks Mencius what the sage-king Shun should do if his father, the benighted Blind Old Man, commits murder, Mencius says that Shun should not stop the lawful arrest of his father, yet at the same time he should give up his kingdom, carry his father on his back, and escape with him to the edge of the sea.13 Stories about a son torn between filial duty to his father and loyalty to his ruler usually end tragically with the son’s suicide.14 The Jurchen setting of the play here, portrayed as a rustic, militarized culture in which communal survival is the paramount concern, might have made it easier to imagine a theme almost unthinkable in the context of Han culture: the capital punishment of the father. Here tragedy is obviated and reconciliation achieved through the Tiger Head Plaque, which Shanshouma presents in act 4 as the agent of implacable military justice detached from himself. The irony is that the Tiger Head Plaque authorizes Shanshouma to “act on his own judgment” (bianyi xingshi 便宜行事),15 and that power includes judicious compromise and expediency (quanyi 權宜),16 which results in the commutation of Yinzhuma’s sentence. In that sense, the Tiger Head Plaque causes a conflict of loyalties but also resolves it. This play, mentioned in both The Register of Ghosts and Correct Sounds, now exists only in Anthology.17

the tIger head PLaque D r a m at i s P e r s o n a e

Role type Female Lead Opening Male Old Female Male Lead Male Lead Extra Comic Extra

Name, social role Chacha, wife of Shanshouma Old Chiliarch, Yinzhuma, uncle of Shanshouma Old Lady, aunt of Shanshouma Shanshouma, Chiliarch, later Marshal Jinzhuma, elder brother of Old Chiliarch Chief Secretary Officer Envoy

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Puppy, a steward Bailiff

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(Female Lead dressed as Chacha enters, followed by Boy.) Chacha (declaims, to the tune “Moon Over West River”:) Since childhood, on horseback I am able, Why would I abide by the dressing table? Though to makeup unknown, I have a natural grace all my own. If you ask who’s my husband— From his waist dangles the general’s plaque of gold. Chacha, unlike other women, Has a nonpareil charm: she is something to behold. (Speaks:) I belong to the Wanyan clan of the Jurchens, and my name is Chacha.18 That husband of mine is Shanshouma, and at present he is senior chiliarch bearing a golden plaque. Today the chiliarch has gone hunting. Servants, arrange the tea and the food, for I expect the chiliarch to return any moment now. (Opening Male dressed as Old Chiliarch enters with Old Lady.) Old Chiliarch: I am Yinzhuma. Since I left the Bohai camp, I have been riding for several days, and now I have come to this mountain pass. Here is the residence of Shanshouma. Attendants, take my horse. Boy, go announce us and say that Uncle and Aunt have come. (Boy announces them.) Chacha: Please ask them to come in. (She greets the guests.) Would you, Uncle and Aunt, please be seated in the front hall. I shall join you after I have put on my formal gown. (She changes her clothes and pays obeisance to them.) Uncle and Aunt, you have endured the toils of a long journey. Old Chiliarch: Chacha, where did the young chiliarch go? Chacha: The chiliarch went hunting. Old Chiliarch: Then tell the boy to ask the chiliarch to come and to tell him that Uncle and Aunt are here, come especially to see him. Chacha: Boy, go quickly and ask the chiliarch to come home. Would you, Uncle and Aunt, for the time being please come to the rear hall and have a drink while we wait for the chiliarch to come home.

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(Male Lead enters dressed as Shanshouma leading his subordinate officials on horseback.19) Shanshouma (recites:) Across my waist is a windlass-like blade, And on my back, a coat of bird feathers made.20 On the map of barbarians and Chinese, None can my heroic style parade. (Speaks:) I belong to the Wanyan clan of the Jurchens. My surname is Wang and my informal name is Shanshouma. At present I serve as senior chiliarch bearing a golden plaque, and my job is to guard the mountain pass. Today the sky is clear and the sun shines warmly, and, not having anything particular to attend to, I have gone hunting with some clan soldiers in tow. (Sings:) [Xianlü mode: Touching Up Red Lips] First, thanks to the martial family tradition of Grandfather, And next, to my own good fortune, I bear the general’s plaque and seal And have wiped out enemy troops in the dust of war, Displaying my valor and might evermore. [River Churning Dragon] Many times have I unfurled banners and faced battle formations, Fighting barbarian troops, time and again honors I’ve won. It’s all too true that I am blessed with wealth And have livestock aplenty. In hundreds of stables, I have raised horses hard-charging and battle-tried, Management of barbarian-quelling troops in a thousand households I decide.21 When now I wish to dispel boredom and gloom, There’s only hunting, as the swooping falcon and the running hound Pursue the vanishing prey and chase the fleeing quarry. (Boy enters.) Boy: I have come to the hunting grounds, haven’t I! Master, there are some relatives at home who have come to visit you. Shanshouma: Boy, what did you come for? Boy: Some relatives have come. Shanshouma (sings:) [Oily Gourd] No wonder this auspicious magpie sits snugly on the branch: In truth there’s no room for doubting good news. (Speaks:) Boy, which relatives are these who have come? Boy: They only said they were relatives; I don’t know who they are. Chiliarch (sings:)

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He fidgets and mumbles right and left, Speaking of relatives: he cannot be deft. Why does he jabber in muddled fashion, higgledy-piggledy? Why is he flustered, thrown into confusion hurly-burly? His eyes betray fear, roly-poly with panic, His mouth sprays as words sputter and splatter. Just look: he’s making a show and lacks all proper form; I cannot bear this pathetic lack of spirit! Boy: Let me think. Shanshouma (sings:) [Joy for All Under Heaven] I only see that the more he thinks the more he gets confused; Indeed, of his three souls a pair is already diffused. (Speaks:) I’ll try to guess. (Sings:) Could it be Police Commissioner Tiege coming from afar to visit his kin? Boy: No. Shanshouma (sings:) Could it be the matriarch from the Dalu family? Boy: It’s not she, either. Shanshouma (sings:) Could it be the young master from the Pucha family? Boy: That’s not it either. Chiliarch (sings:) Could it be Uncle and Aunt who have come to visit? Boy: Right! It’s Uncle and Aunt. Shanshouma: So it’s Uncle and Aunt. I’ll wind up the hunt22 for now and go home right away. (Exits.) (Old Chiliarch enters together with Old Lady and Chacha.) Old Chiliarch: How is it that the chiliarch has not come home yet? Chacha: Attendants, go take a look at the gate. The chiliarch is surely about to come. (Shanshouma enters.) Shanshouma: Take the horse. Chacha, where’s Uncle and Aunt? (He greets them and pays obeisance.) Old Chiliarch: Son, we have been separated for several years, and the two of us have really missed you. Today we have come straight off to see you. Shanshouma: Uncle and Aunt, please sit down. (Sings:) [Heaven for the Drunken] Uncle, you must be tired out from the saddle, And Aunt, with hardships on the road you had to grapple. Since we parted, five or six springs have gone by, For several years no news from home is nigh.

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I, Shanshouma, have no other true kin, And words hardly convey feelings within. In coming to inquire after this unworthy son, You have indeed braved wind and dust over a long way. Old Chiliarch: Son, think how since your childhood the two of us have raised you. Now that you are mighty and successful, you must not forget our kindness. Shanshouma: Uncle and Aunt, can this be something I am not aware of ? (Sings:) [Golden Cup] I lost both my parents from a young age; How alone and destitute I was! I thank you, Uncle and Aunt, for having taught me like your own son And drilled me in arts civil and military. Now I am in charge of the borderland as marshal, Defending the narrow pass, commanding three armies. For me back then, “To become a man was to not have it easy, Having it easy was to not become a man.”23 (Speaks:) Attendants, slaughter a sheep and a pig over there and set up the banquet. (Extra dressed as Envoy enters.) Envoy: I belong to the Wanyan clan of the Jurchens, and I am an envoy sent by the imperial court. Because the chiliarch Shanshouma has accomplished much in guarding the mountain pass and attacking the bandits, His Majesty has sent me to confer on him an imperial award. I have already arrived at the gate of his home. Attendants, take my horse and announce me, telling him that an official envoy is at the gate. (Boy announces Envoy.) Chiliarch: Burn some incense! (He kneels.) Envoy: Hear ye, Shanshouma, the imperial command: for repeatedly demonstrating extraordinary merit in guarding the mountain pass, we appoint you as grand marshal of troops and cavalry of the realm, and as acting director of the Bureau of Military Affairs. By imperial decree we grant you the golden plaque with the insignia of double tigers24 and authorize you to act on your own judgment, to execute first and report later. As for the plain golden plaque, if there be among your subordinates a capable man, give it to him to wear, and he will be senior chiliarch bearing a golden plaque in your stead to guard the mountain pass. Be grateful to His Majesty. Shanshouma (expresses his thanks:) Your Honor, you have exerted yourself too much on this journey. Envoy: My felicitations to Your Honor for obtaining this superior appointment. Shanshouma: Your Honor, come partake of the banquet before you go. Envoy: My duties are pressing, and so I must be on my way. Shanshouma (sees him off:) I wish Your Honor a safe journey! Envoy: I beg leave to go now. For truly, generals from their mounts do not descend, but each gallops following his bend. (Exits.)

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Shanshouma: Attendants, is the banquet ready yet? Boy: It has been ready for a while now. Old Chiliarch: My Lady, the imperial court has just sent down an order appointing the young chiliarch as grand marshal of troops and cavalry of the realm, and I’ve heard it said that he should give that plain golden plaque to some capable man under him, so that he can wear it and be chiliarch in his stead. Come to think of it, I have lived all these years yet have never held any official title, not even as community leader.25 Would you ask the young mistress to have a word with the marshal, say that he should give me the plain golden plaque to wear, and I’ll go and guard the mountain pass. Wouldn’t that be better than giving it to someone else? Old Lady: Your Honor, all your life you have been fond of drinking, and I only fear that you will be derelict in your duties. Old Chiliarch: If I bear the plaque and become chiliarch, I won’t drink even one drop of wine! Old Lady: You promise! Old Chiliarch: I won’t drink again. Old Lady: If this is the case, I’ll go and speak to Chacha. (She greets Chacha.) Daughter-in-law, I have something to say to you, but dare I speak? Chacha: What has my aunt got to say? Old Lady: According to what the imperial envoy just said, they gave to the young chiliarch a golden plaque with the insignia of double tigers, and as for that plain golden plaque, they ordered him to give it to a capable man among his subordinates. Rather than giving it to somebody else, wouldn’t it be better to give it to Uncle? Chacha: You are right, Aunt: I will speak to the marshal right away. (Chacha greets Shanshouma.) Marshal, Uncle and Aunt said that you now bear the golden plaque with the insignia of double tigers, and that as for the plain golden plaque, you are to give it to one of your subordinates. Rather than giving it to someone else, it would be better to give it to Uncle. Shanshouma: Who said this? Chacha: Aunt said it. Shanshouma: All his life Uncle has been fond of drinking, and I only fear that he will be remiss in his duties. Chacha: Uncle says that if he wears the plaque and becomes senior chiliarch, he won’t drink a single drop anymore. Shanshouma: If this is how things stand, bring that plain golden plaque. Uncle, the official envoy has just announced that an imperial decree has made me grand marshal of troops and cavalry. I have been granted the golden plaque with the insignia of double tigers and given the authority to execute first and report later. As for this plain golden plaque, I was told that if among my subordinates there be a capable man, I should let him wear it and become senior chiliarch bearing a golden plaque. I recall how you, Uncle, in your youth toiled for the state—Uncle,

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for you to wear this plaque and be senior chiliarch would be better than giving it to anyone else. Old Chiliarch: Surely among your subordinates there must be many capable men, and furthermore I have done no meritorious service at all—how could I become this senior chiliarch? Shanshouma: Uncle, don’t talk like that. (Sings:) [One-Half] My grandfather was the country’s founding hero, And you, my uncle, have been since childhood a valiant vanguard.26 To give you, Uncle, this golden plaque to wear Is entirely right and fair. I see how Aunt rejoices over there. (Speaks:) Uncle, please accept this plaque. Old Chiliarch: How can I accept this! Shanshouma (sings:) I see him half refusing, yet half willing.27 Old Chiliarch: Marshal, this is uncommon kindness: I will accept the plaque. Shanshouma: Uncle, since you have accepted the plaque, you have to turn back on your old ways. You must exert yourself to serve the state, and must no longer indulge in drinking. Old Chiliarch: Don’t worry; once I put on this plaque I won’t drink even a single drop. Shanshouma: That’ll be just fine. (Sings:) [Golden Cup] The reason I remonstrate on and on Is but that I fear you’d be drunk and gone. Just look at the peck-sized plaque of gold behind your elbow: How could you the ruler fail to follow? May you the altars of the realm uphold And exterminate its enemies of old. As the saying goes, When the family’s poor, the filial son will shine; A realm in peril will the loyal subject define. Old Chiliarch: Today I’ll go to the Bohai camp and move my family to the mountain pass that I will defend. Shanshouma: Uncle, today I am going to Daxing prefecture. You go and get your baggage, and be careful on the road. (Sings:) [Coda] Today you will traverse fords and passes And cross prefectures and provinces. And if you unexpectedly meet the enemy

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And tangle with them on the battlefield, I’ll wager you’d fight fiercely. All thanks to our ancestor—we are scions of a palace guardsman.28 Alas! Please don’t slacken and be caught And count on a relative’s help in a tight spot. In truth, for bravery in battle none beats a father and son team, And we vow to destroy all enemies, be they of scale extreme! Just guard the border pass with vigilance, And if need be, spill your blood to repay our good ruler. (Exit together with Chacha and Boy.) Old Chiliarch: My nephew has gone. Now I’ll go to the Bohai camp to move my household. (Exit together with Old Lady.)

ac t 2

(Old Chiliarch enters with Old Lady.) Old Chiliarch: Since arriving at the Bohai camp to move my household, I have met many of my kinsmen. When they heard that I have become chiliarch, this one asked me to drink two jugs and that one asked me to drink three, and thus it was that I have been drunk every day. Although I have been drinking, I am anxious not to miss the appointed date on which I am to assume my duties. There is a second elder brother of mine living in this village, by the name of Jinzhuma. After taking leave of him, I’ll go to the mountain pass. Old Lady: Your Honor, I’ll wait here. You go and take leave of Elder Brother and come back soon. (Exits.) Old Chiliarch: As I look into the distance, it may actually be my elder brother coming. (Male Lead enters dressed as Jinzhuma.) Jinzhuma: I am Jinzhuma. I have a brother, Yinzhuma. Now he has become senior chiliarch bearing a golden plaque and will go to defend the mountain pass. I’ve heard that he is going through this village of mine. Failing other things, I brought this jug of wine to bid him farewell. I’ll be on my way now. (Sings:) [Shuangdiao mode: Five Offerings] Sorrow is simmering— I’m filled with regrets lingering; What is to be done with my empty hands! I could only ask others to lend me some coppers To buy this jug of rustic koumiss wine— For a farewell cup with that second younger brother of mine. I think his time for departure is pressing near,

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And he will find it difficult to tarry. But as he leaves this time, I do not know when we two shall meet again. (Speaks:) If that isn’t my brother! Old Chiliarch: If that isn’t my elder brother! (They greet each other.) Elder Brother, I have become senior chiliarch bearing a golden plaque. I am now on my way to guard the mountain pass and was about to go straight to take leave of you. Jinzhuma: Brother, I know that you have become senior chiliarch bearing a golden plaque, and that you are on your way to guard the mountain pass. Failing other things, I bought this jug of wine and will drink a farewell cup with you. Old Chiliarch: I can see how straitened your circumstances are; where did you get the money to buy wine? I have put my elder brother to great trouble! Jinzhuma (hands him the wine, sings:) [A Wind Bringing Down Plum Blossoms] I wipe clean this jug’s rim And fill this goblet to the brim. (Old Chiliarch receives the wine.) Jinzhuma: Brother, don’t drink yet for a moment. (Sings:) Let me gaze at the sun in the azure horizon and pour a libation. I am a poor man who does not know how a prayer to say;29 My only wish is that we brothers could soon meet someday. (He pours a libation and once more hands the wine to Old Chiliarch. He speaks:) Drink a full cup, Brother. Old Chiliarch: You drink first, Elder Brother. Jinzhuma: All right, I’ve drunk first. Drink, Brother. Old Chiliarch: Let me drink. Jinzhuma: Brother, drink another cup. Old Chiliarch: It’s only when I am with you, Elder Brother, that I’ll drink several cups of wine, but once I get to the mountain pass, I won’t drink even a single drop. Jinzhuma: Brother, your elder brother has nothing to give you as a parting gift. Old Chiliarch: Today I’m here to take leave of my elder brother; how dare I ask you for anything? Jinzhuma (sings:) [Enahu]30 If only I had my former wealth, I would surely send you off with money and much ado. Here are, with fish-bladder glue31 joined, two arrows of bamboo. Old Chiliarch: I accept them. Jinzhuma: There is something else. (Sings:) There is also this waxed bowstring. Old Chiliarch: I can really use these two things.

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Jinzhuma: Brother, drink little, and attend to your duties diligently. Old Chiliarch: Elder Brother, please rest assured, for when I get to the mountain pass, I will put the troops and horses in battle order, prepare to guard against the bandits, and won’t drink even one drop of wine. Jinzhuma (sings:) [Slowly the Golden Cup] My unwearied mouth will spout some words of good advice.32 I urge you: be not greedy for wine; I urge you: do not for wealth pine. You should just guard for long the southern border’s mountain gorge, The command of stalwart troops you should forge, Holding forth as you defend that land. I only want you to, with full focus, guard that pass securely. Then, you need worry only about promotion, And never about censure or demotion. Old Chiliarch: Elder Brother, that nephew of ours, Shanshouma, is grand marshal of troops and cavalry. Even if I were to be a bit remiss, who would dare to reprove me? Jinzhuma: Brother, don’t talk like that. (Sings:) [Stone Bamboo] Although our nephew Shanshouma is good and lenient, His mercy will not be extended to the deviant. If the punishment matches the crime, Then even death cannot be said to cross the line. The all-too-real orders of a marshal Are more to be feared than imperial decrees. Old Chiliarch: I recall that in the old days you were happy and comfortable, Elder Brother. Jinzhuma (sings:) [Great Bow at the Gate] Of my present state I do not think at all But constantly the past years recall. Everywhere I enjoyed the company of kith and kin, Strumming the strings and playing the flutes: It was supreme joy! Wasn’t it grand at the wedding feasts of our kinsmen!33 Old Chiliarch: I recall that you wore such wonderful clothes in your youth; how is it that today you are so poor and tattered? Jinzhuma (sings:) [Mountain Pomegranate] I used to dress with distinctive flair And take excellent care of my face and hair.

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My deerskin black boots were soft like fluff, And my padded jacket had a waistband blue enough. [Drunken Lady] As for my pearls Round as peas— Even from those I chose only the best to wear. On my head scarf was a flower pattern bold, And the leather belt I wore was inlaid with jade and trimmed with gold.34 Old Chiliarch: Elder Brother, considering that you had such stunning looks in your youth, how is it that you have now aged to such a degree? Jinzhuma (sings:) [Beloved by a Gentleman] My silver bowl of a face was smooth and soft, My inky ingot of a beard was twined with silken strings.35 Facing these officials, I would personally pass around the wine tallies. Then when the table is with goblets in order crowned, We drank our first merry round. [Not Bowing at the Gate] We listened to this zhelagu tune36 on the flutes with their lingering din, And to that camel-hide drum thumping as loud as spring thunder. I did, in front of the mats, In front of the mats, dance a graceful, swirling spin. And when I ceased—ah, from whom didn’t I praise win? [Another Refusal] I faced all these officials, And my kith and kin, Who spread feasts to send me on my way. Indeed, as they say, “Leaving, leaving, hard to hold on— When again shall we meet as of yore?” Old Chiliarch (shows sadness:) Elder Brother, I wonder when we two brothers shall meet again after this parting? Jinzhuma (sings:) [A Glad Heart] After this parting, If we wish to again meet thus, It will be but in our dreams, But who knows if dreams will oblige us? For it has but come to this: we brothers are the objects of scorn, Our wives are careworn, And our sons are by grumblings torn.

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The ways of the world change all too quickly— Whether for better or worse, it’s hard to tell. Old Chiliarch: Elder Brother, your words pain me no end! Jinzhuma (sings:) [Graceful in Inebriation] ’Tis but that I’m by you abandoned, alas! ’Tis but that I’m by you abandoned, alas! I have nothing to sell, and nothing to pawn, Nothing to eat, and nothing to wear, And it’ll get worse year after year. Old Chiliarch: I recall that Elder Brother had a son called Dog Pelt. Where is he now? Jinzhuma: I have long forgotten him—what did you mention him for? (Sings:) [A New Moon] That hateful, unfilial rogue of mine Was last seen in the capital city of Zhongdu.37 With knaves and loose women he keeps company, And through teahouses, wineshops, And gay quarters he threads his familiar way lustily. For several years now, There hasn’t been any news. There are a few words on the tip of my tongue, But swallowed, they’ve to my throat clung. Old Chiliarch: My elder brother wants to say something but is not saying it. Jinzhuma (aside:) I have a mind to ask my brother for a coat, but I find it difficult to speak up. I’ll broach it to him by and by. (To Old Chiliarch:) Throughout the year, spring, summer, fall, and winter, I have been in dire straits. (Sings:) [Alluring Body]38 When I get to springtime, In springtime the balmy air is loud with twitter. And when I get to summertime, In summertime a warm breeze is felt everywhere. But what I dread most is late autumn, Not to mention the solstice month, The solstice month with its whirling flakes of snow. [Hudubai] Ah, brother! I once enjoyed my patrimony, With estates and fields of yore. But now I suffer privations: not having a single tile or a lone beam, Not even a needle or a hempen thread. How could I polish rice or make white flour? Where could I for thick brocade and thin cotton padding scour?

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Ah, Bother, if only for our parents’ sake, When the cold season is coming on, Should you have some old jackets you wish to put aside, Let them for me provide. Old Chiliarch: If Elder Brother hadn’t spoken up, how could I have known? Right away I will order my men to open the camel packs and bring a padded coat, which I will give to you to ward off the winter cold. Jinzhuma (sings:) ’Tis not that I babble and gabble, Pester and badger. For all my tears streaming down, I cannot dispel my heart’s rancor, Nor can I quiet a lifetime’s clamor. Old Chiliarch: Elder Brother, back then you enjoyed incense balls and hangings of luxury, draping curtains and gauze screens. Where are they now? Jinzhuma (sings:) [Tangwudai] In olden days, surrounded by draping curtains and gauze screens, I used to sleep under embroidered covers. Today I take as pillow half a brick, And on the earthen bed stove I curl up on a torn and tattered mat— What anguish and despair! (Speaks:) When you get to your post, do put your troops and horses in battle order and stay away from wine. Old Chiliarch: Don’t worry, Elder Brother. Today the realm is at peace and the four seas are untroubled, so even if I drink a few cups, what’s the harm? Jinzhuma: Brother, don’t talk like that. (Sings:) [Farewell Feast Coda] Even though weapons have been nullified, And men and horses put aside, And campaigns are no more, You must drill troops with lance and blade, Train them with sword and spear, Teach them with bow and arrow. You have to go forth with a heart resolute: Have no unease at the stockade, No fear in the encampment, No weariness on the battlefield. Old Chiliarch (makes obeisance and takes his leave:) Now I’ve taken leave of Elder Brother I must go to the mountain pass.

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Jinzhuma: Brother, have a safe journey. Old Chiliarch: Attendants, where are you? Bring my horse. (Mounts the horse.) Take your time to make your way home, Elder Brother. Jinzhuma (sings:) Your horse’s hooves prance on the road, clicking and clacking, But I shall return home alone, huffing and puffing. Old Chiliarch: My brother, you are still robust and strong. Jinzhuma (sings:) I may be healthy and robust, But who knows whether I will live to next year or the one after? Old Chiliarch: Once I get there, I will send for you, Elder Brother. Jinzhuma (sings:) You wish to meet again, but ’tis difficult. (Speaks:) Brother! (Sings:) Perhaps there is for us reunion, come what may, But that road is mighty long and far away. (Exits.) Old Chiliarch: My elder brother has gone back. So now I will take my household and go to the mountain pass and defend it. (Recites:) Now I am going to defend the mountain pass; Rousing the old spirit, energy I will amass. I bet no barbarian soldier will dare cross the border, Though all my family nag me about wine and disorder. (Exits.)

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(Old Chiliarch enters together with Old Lady.) Old Chiliarch: Speaking of happiness, I’ve never been so happy as now, and speaking of joy, there has never been a day like today. Ever since I came to this mountain pass, nothing much has happened: just right for drinking. I sent men to go and invite my elder brother, Jinzhuma, to come here, but—who would have thought it—he had passed away. Today is the fifteenth of the eighth month, the time of the Midautumn Festival. My Lady, tell the servants to set up wine, and I will enjoy the moon with you and take pleasure in a few hearty drinks. (He moves about, expressing joy.) (Officer enters.) Officer (reporting:) Your Honor, disaster! We’ve lost control of the pass! (Old Chiliarch is distressed and shaken.) Old Lady: Your Honor, I told you to drink a few cups less. What are we going to do now? Old Chiliarch: Since things have come to this, what am I to do? Attendants, bring my armor; I’ll go and pursue the bandits. (Exits.)

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(Extra enters dressed as Chief Secretary.) Secretary: I belong to the Wanyan clan of the Jurchens, and since our forebears’ times, we have wielded military authority and defended the frontiers. But now and again invading Liao troops attacked us; our forefathers fought them constantly, and a great enmity was created. They for their part vilified us, saying that we Jurchens are barbarians with no surnames. Because of this our forefathers changed their names and divided themselves into seven lineages: qian and kun, following cosmic duality, and gong, shang, jue, zhi, yu, following the five notes in music. Under qian, Nalu became Liu; under kun, Wendehan became Zhang. Under gong, the Aoguo lineage took the surname Zhou. Under shang, the Wanyan lineage took the surname Wang. Under jue, the Pufu lineage took the surname Li. Under zhi, the Jiagu lineage adopted the surname Zhou. Under yu, the Shimi lineage took the surname Xiao.39 In addition to these seven surnames, there are such names as Pabaobao, Wugulun, and others, and in each case the given name was taken as surname. Formerly, our forefathers’ original tribal name had been Zhulizhen, and they were the Huihui Luzhen among the Jurchens.40 Thereafter they consolidated their frontiers and accomplished great things, moved the capital here to Zhongdu, and divided themselves into seven precincts. To think that our forefathers had risked life and limb and served the state with loyal hearts, and now we, their sons and grandsons, have inherited the duty— this indeed was hard earned! (Recites:) Our forefathers toiled to achieve a great thing, And we, their progeny, to their glory do cling. With all our hearts we only wish that war and turmoil cease, So we can serve and protect the imperial court and enjoy peace. I am chief secretary in the marshal’s office. Now there is this old man charged with the defense of the mountain pass. Day after day he craves wine. Now he has let the Liao bandits slip through the border, and he missed the strategic time for military action. This is no minor offense. Three times I have sent a warrant for his arrest, but each time he beat up the men who went to get him. He sets great store by being the marshal’s uncle, but the marshal has been sorely vexed. Now His Honor has again given order to have him arrested. In case the old man wouldn’t come, several Guanxi officers41 carrying a warrant with the seal of the marshal’s office have been dispatched to enforce the order, so there is no need to fear that he could avoid coming. Attendants, tell the bailiffs that they should exercise great care, go quickly and return soon. When old Wanyan gets here, report to me immediately. (Exits.) (Old Chiliarch enters leading his attendants.) Old Chiliarch: Having lost the pass on the night of the fifteenth of the eighth month, right away the next day I personally led many chieftains and pitched a battle with the bandits, recovering all the men and livestock they had plundered. Those chieftains are congratulating me on my victory, and we’ll drink some more. (He drinks again.) Old Lady: Attendants, set up wine, and pour a cup for His Honor’s exertions.

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(Comic dressed as Bailiff enters.) Bailiff (sees Chiliarch:) In the marshal’s name I arrest you! Old Chiliarch (yelling:) You there! Who are you? Bailiff: By the marshal’s order I have come to arrest you. Old Chiliarch: I am the marshal’s uncle, how dare you arrest me! Attendants, take this man away and give him a beating. (Attendants beat him.) Bailiff (recites:) The old man doesn’t know the world’s affairs, To ignore the marshal’s writ he dares. I came for your arrest, but you had me beat. On your old wife I’ll apply the heat. (Exits.) (Another Comic dressed as another Bailiff enters.) Bailiff: I arrest you in the marshal’s name! Old Chiliarch: That guy! Who is he? Bailiff: By the marshal’s order I have been sent to arrest you. Old Chiliarch: Pshaw! But I am the marshal’s uncle. How dare you come to arrest me? Attendants, beat him up for me and throw him out! (Attendants beat him.) Bailiff (recites:) You, old Wanyan, are indeed up to no good, To my wet flesh you’ve applied dry wood. I came for your arrest, but you won’t go, Yet on my heel is a fiercer foe. (Exits.) (Extra enters dressed as Officer.) Officer: I am an officer from Guanxi. Following the marshal’s order, I am to arrest old Wanyan, who lost control of the mountain pass and has resisted summons to be arrested. Now the marshal has sent me to arrest him, and I have already arrived. (Greets Old Chiliarch.) Old Chiliarch! By the marshal’s orders men were sent to arrest you—why didn’t you go? (Takes out iron chains and puts them on him, recites:) Insolent old Wanyan, rules you decry, The marshal’s writ you publicly defy. I shall not argue the matter here, At the marshal’s hall we’ll hear what words belie. Old Chiliarch: My Lady, this is bad business! Now they have come to take me to the marshal’s residence—how could I, old as I am, ever stand this kind of suffering! My Lady, warm me a jug of wine, hurry up! (Exits.) Old Lady: What can be done under these circumstances? I’ll go straight to the marshal’s residence with you, my husband. (Exits.) (Marshal enters, followed by Chief Secretary and Attendants. They set up court.) Shanshouma (sings:) [Shuangdiao mode: Song of New Water]

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Congratulations and reports of peace rumble like spring thunder; For me that gleaming bright sword is to be made ready. He was derelict in duty and fouled up our military strategy. To arrest him I’ve sent many a messenger. (Speaks:) Secretary, go and ask about that guardian of the pass. (Sings:) Has the old officer arrived yet?42 (Officer enters leading Old Chiliarch in chains.) Officer: Come on, walk faster! Old Chiliarch: What is this? I’m the marshal’s uncle, what have I got to be afraid of ? Officer (greets Chief Secretary:) I have arrested and brought in old Wanyan of the mountain pass. Shanshouma: Has he been arrested? Bring him over here. Secretary: Bring him over here! Shanshouma: Open the lock of his chains and take away that plaque of his. (Old Chiliarch does not kneel.) Shanshouma: What insolence! (Sings:) [Intoxicated by the East Wind] Seeing him stand huffing and puffing below the court steps, I can’t help flipping and flopping, my heart filled with doubts. (Speaks:) And as for me, what if I were to . . .43 (Sings:) Upon the emperor’s decree, I hold the post of grand marshal. How can you have no respect for proper forms of address! (Speaks:) After all, you are my subordinate official. (Sings:) He still pretends not to hear And does not kneel down as he comes near. (Speaks:) You are guilty of flouting an important law, and still you are obdurate and defiant. Secretary, ask him why he does not kneel. If he still won’t kneel, get the big stick ready and, for a start, smash up his shinbones. Secretary: Yes sir. Old Chiliarch: Secretary, I am his uncle—where do you get this idea of telling me to kneel down before him? Secretary: His Honor said that if you don’t kneel down, we are to take the big stick and smash up your shinbones for a start! Old Chiliarch: All right, all right, I’ll kneel, but you are making bad karma for him.44 Shanshouma: Secretary, tell him to mark the page and sign his name to the indictment.45 Secretary: Old man, you are ordered to mark the page and sign your name. Old Chiliarch: Secretary, what do I know about marking the page and signing my name? Secretary: Mark the page once, and we’ll let you drink a cup of wine.

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Old Chiliarch: A mark on the page for a cup of wine. Bring it on! Bring it on! I can mark it all day long. Secretary: Sign your name. Old Chiliarch: Signed. Secretary: Old Wanyan has marked the page and signed his name. Shanshouma: Secretary, read out loud the deposition for him to hear. Secretary (reads:) The person who signed the deposition is Wanyan Ake. Ake is now sixty years old and is in good health. He is a Jurchen under the command of the hereditary myriarch Hulidahai of the capital region. He responded to a call for military service and now serves as commander of the vanguard of the Southern Expeditionary Forces under the Bureau of Military Affairs. Recently His Honor the director favored him with a commission to lead the troops formerly under the director’s command to defend the mountain pass and ward off the bandits. Naturally he should have constantly kept the troops in battle order and guarded against the enemy. Yet on the night of the fifteenth of the eighth month, because he was heavily drunk, he suffered a defeat, permitting enemy troops to infiltrate and cross the border, bring down the pass garrison, capture men and women, and plunder cattle and horses. Now he received an order for his arrest from His Honor the director and should have come forward in accordance with the command. Yet he resisted and did not go forth to the director’s residence, deliberately flouting the director’s orders, and moreover had the officials sent to arrest him repeatedly beaten up. Now we have the deposition of Ake, the offender, based on his confession. If we act in accordance with the military ordinances, we will uphold justice and humbly receive the imperial decree. The sentence: item, for the border commander who heard the order but did not come forth in compliance, death sentence; item, for the border commander who was drunk and did not regularly drill his troops, death sentence; item, for the border commander who allowed bandits to infiltrate the border and did not go out to meet the enemy, death sentence. Deposition and indictment of the Wanyan Ake, dated the eighth month, such and such a day. Old Chiliarch: So then I am to die! (Weeps.) Shanshouma (sings:) [Strumming the Lute and Pipa] For all my family sentiment, I must attend to military regiment. I charged you to array officers by your gate, To have halberds in a ready state. Why didn’t you meet your foe, Why didn’t you fight a battle, But drank yourself insensible? Even if you were a master commander like Jiang Shang, Guan Zhong of Qi, Fan Li of Yue, Zhang Liang of Han,46

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What difference would that have made? In vain do you now blubber. (Speaks:) Secretary, bring that indictment over here. Secretary: I have it. Shanshouma: Put down as judgment “decapitation.” Take him out, cut off his head, and report back to me when you’ve finished. Secretary: Yes sir. Attendants, where are you? Take old Wanyan out and decapitate him. (They tie him up.) Old Chiliarch: Heavens! Now they want to kill me. Isn’t there some way My Lady could come and intercede on my behalf ? (Old Lady enters, in great distress.) Old Lady: Good men, stay a moment. I am the marshal’s own aunt; wait till I go and plead with him. (She sees the marshal, kneels and cries out.) Shanshouma: Please rise, Aunt. Old Lady: Marshal, it is not for me to come and speak up in this great hall of state justice. I know that your uncle wore the plain golden plaque, and because of his fondness for drinking, he lost the mountain pass and let enemy raiders capture and plunder the people. You, Marshal, hold him guilty and are about to have him killed. Just think: you lost both parents at a young age, and the two of us brought you up to be a man and to become such a high official. Although we two did not conceive and give birth to you, we suckled you for three years, changed your wet swaddling clothes, and fed you mouth to mouth, picking out for you the choice morsels and swallowing the lesser bits ourselves. You really must spare him the sword. For my sake, merely apply the stick to him to give him a warning for the future. Won’t that be good enough? Shanshouma: But you don’t know what that man did behind your back? (Sings:) [Eighteen Beats of the Barbarian Fife] He was befuddled with food and wine, For song and women alone his heart would pine; When was he ever willing to defend the narrow pass And to repulse the mighty bandits? All he did every day was play the flute, beat the drum, and hold banquets. Old Lady: Your uncle is an old man. Shanshouma: You say that Uncle is old; how old is he? Old Lady: He is sixty years old. Shanshouma (sings:) So he is barely sixty. (Speaks:) Jiang Shang was eighty when he met King Wen. One day he arrived with his troops at the River Meng, and six days later he captured the Shang capital, Chaoge, in a bloodbath and established the Zhou dynasty that lasted eight hundred years. (Sings:) Next to Jiang Shang, who vanquished Zhou, he’s younger still by twenty years. (Speaks:)

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Please rise, Aunt. This is a military matter, and I cannot pardon him. Old Lady (goes out:) Your Honor, he adamantly refuses to pardon you. What shall we do? Old Chiliarch: How about you ask the young mistress Chacha to come and tell her to plead for me with the marshal? (Chacha enters.) Chacha: Uncle and Aunt, why are you so troubled and distressed? Old Lady: Chacha, your uncle lost control of the mountain pass because he was drunk, and the marshal is about to have him executed. You will go and plead for him—won’t you? Chacha: Uncle and Aunt, if I succeed, don’t rejoice too soon, and if I fail, don’t be distressed. (She greets Shanshouma.) Shanshouma (angrily:) Chacha, what business do you have that you should come here? Chacha: This is a court of justice, and it is not for me to meddle here. I only know that when you were young, both your parents died, and it was thanks to Uncle and Aunt that you were brought up to become such a high official. If you were to kill Uncle . . . How could you! You must pardon Uncle for my sake. What do you say to it? Shanshouma: Chacha, how can you, a woman, interfere with what goes on inside these official gates? Who let you become so bold and insolent? (Sings:) [Rejoicing Over the Yuanhe Reign] This is a place for major decisions, Who told you that you could come here? In these halls of legal disputations, There’s no room for you, the wife virtuous and dear. (Speaks:) Now my subordinate officials would say that when my uncle commits a crime, he can ask my wife to come and plead for him. (Sings:) This dispensation of yours Really comes all too quickly! Chacha, if you don’t go back, (sings:) You will make me lose face and rend my dignity in vain. (Speaks:) Go quickly! Chacha: All right, all right, I’ll just go. (She goes out and sees Old Chiliarch.) The marshal adamantly refuses to pardon you. Isn’t it said, “With proper laws heaven will comply”?47 “When the officials are honest, the people are content with their lot”— that applies to you. “When the wife is virtuous, the husband will be spared calamities”—that applies to me. Alas! But no luck with this: “When the son is filial, the father’s heart is at ease.” (Exits.) Old Lady: In this case, what should we do? Old Chiliarch: Your Honor, Chief Secretary, would all of you officials go intercede for me?

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Secretary: Stay the execution. (All the officials kneel before Marshal.) Shanshouma: What are you all doing? Secretary: Your Honor, one should punish without sparing one’s own flesh and blood, and one should reward without passing over one’s enemies. How could we dare to intercede? It is true that old Wanyan, relying on his advancing years, gave himself over to wine and neglected his duties and thus let enemy soldiers infiltrate the border and bring down the pass garrison—indeed, his crime is no trifle. But Your Honor lost your parents at a young age, and your uncle raised you up to become a man—this beneficence is also great. In our foolish opinion, if old Wanyan is punished in accordance with the just statutes, though it will indeed show that Your Honor impartially uphold the law, yet in thus fulfilling your loyalty to the state, you will betray filial piety in your family. A worthy man may not approve of this. (Recites:) We plead that Your Honor search his heart And deliberate the law in all its concerns. We dare not advance any opinion on our part But hope your mirror of justice in due course leniency discerns. Shanshouma (sings:) [Pretty with Every Step] All my officials high and low are kneeling before these steps— Truly each and every one of you is shameless. He’s my uncle and I am his nephew— A fire after all is no hotter than the ashes. You may not bring up this matter again. (Speaks:) My kinsman he may be, but when he has committed such a grave offense, I am still going to execute him. If any of you are to be remiss in any way— (Sings:) Before you do anything, first look and learn from his example. (Speaks:) Get up, all of you. I cannot spare him. Secretary (goes out:) His Honor is not willing to pardon you. Old Chiliarch: If this is how things stand, what shall I do? Secretary: Old Wanyan, having lost control of the pass on the fifteenth of the eighth month, how is it that you did not pursue the enemy? Old Chiliarch: On the sixteenth I mounted my horse, overtook the enemy, fought a battle, and recovered all the people, cattle, and horses they had captured. Secretary: If that’s the case, why didn’t you say so earlier? (Greets Shanshouma.) Your Honor, old Wanyan just said that on the sixteenth he mounted his horse and fought a battle with the enemy and recovered all the people, cattle, and horses they had captured. This is a case of merit canceling out the offense. Shanshouma: So he fought a battle with the bandits and recovered the captured people, cattle, and horses? This being the case, his merit cancels out his offense, and he will be spared the blade of execution. You may change the indictment and sentence him to one hundred strokes.

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Secretary: Yes sir. (Reads the indictment:) The person who signed the deposition is Wanyan Ake. Ake is now sixty years old and is in good health. He is a Jurchen under the command of the hereditary myriarch Hulidahai of the capital region. He responded to a call for military service and now serves as commander of the vanguard of the Southern Expeditionary Forces under the Bureau of Military Affairs. Recently His Honor the director favored him with a commission to lead the troops formerly under the director’s command to defend the mountain pass and ward off the bandits. Naturally he should have constantly kept the troops in battle order and guarded against the enemy. Yet on the night of the fifteenth of the eighth month, he was remiss in keeping watch and allowed enemy troops to infiltrate the border, to attack, and capture a certain number of people, cattle, and horses. Then on the sixteenth of the same month, Ake personally led his troops and, braving all danger, went after the enemy, exerted himself, and proved his mettle, recapturing the people, cattle, and horses. In the area where the incursion had taken place he fought and repulsed the enemy, attained victory, and returned. The merit should really cancel out the offense, but Ake should not have been drunk, should not have resisted the director’s orders and failed to come forward as instructed. He was rightly considered to have committed a crime. Now we have the deposition of Ake, the offender, based on his confession. If Your Honor will accept the request for commutation of the sentence, we will uphold justice and humbly receive the imperial decree. Deposition and indictment of Wanyan Ake. Shanshouma: I approve this deposition. Give him one hundred strokes. Secretary: Old Wanyan, by order of the marshal you have been spared the death penalty and will only receive one hundred strokes. Old Chiliarch: Although you’ve spared me the death penalty, if you beat me one hundred strokes, I’ll be a dead man as well. Would Your Honor stay your hand a while, so that I could look for someone to save this life of mine. My Lady, we have a steward in our family called Puppy. He is here now, and I would like to ask him to intercede for me. (He calls out.) (Comic enters dressed as Puppy.) Puppy: I am Puppy. I have humbly served His Honor the director and he dotes on me. If it were not for me, he would not eat and drink. Whenever he sees me, he rejoices, and in all matters he acts only upon my advice. I was just lighting the fire inside the kitchen range, and I don’t know who called me. Old Chiliarch: Puppy, I called you. (Kneels.) I beg you . . . Puppy: I say, if it isn’t Uncle. Don’t pay obeisance to me; please get up. (Slips and falls down.) I’ve just hit my face. Uncle, what’s the matter? Old Chiliarch: Puppy, the marshal wants to give me one hundred strokes. Have pity on me and go have a word with him on my behalf. Puppy: Uncle, don’t worry. I didn’t need you to tell me but already went and had a word with him last night.

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Old Chiliarch: Go and intercede for me now. Puppy: Don’t worry, Uncle, it’s all on me. (He pays his respects to Marshal.) Shanshouma: What did you come for? Puppy: I wouldn’t have come for nothing. The thing is that Uncle happened to be drunk and neglected military duties, and you want to give him one hundred strokes. If it wouldn’t hurt him, that would be all right, but really, as the saying goes, “The great is able to cover up the small and the sea receives all rivers.” For my sake, don’t beat him. If you beat him, I shall be vexed. Please forgive him! Shanshouma (sings:) [Buy Good Wine] I see that he puts on a willful and insistent air And turns to me all smiles, selling his unpersuasive ware. “Pardon him,” so he said repeatedly, But here I must think awhile— How can this official case be dealt with lightly! [Song of Peace] I have turned him away several times, But he implored me time and again. Pointing to officials and clerks, all he does is make pleas And calls on heaven and earth without cease. (Speaks:) Puppy! (Sings:) If you can intercede, You surely can take some punishment in his stead. Puppy: I’ll take it, I’ll take it! Shanshouma: So, you’ll take some punishment in his stead? Attendants, get the big stick ready. (Sings:) I’ll first beat you to smithereens; I’ll beat you till your waist snaps. Attendants, take him down and beat him forty strokes. (They beat Puppy.) You’re done beating him, drag him outside. (Puppy stumbles out.) Old Chiliarch: Well, how did the talk go? Puppy: I went and had a word with him. Old Chiliarch: Go in again and plead with him. Puppy: He told me to come tomorrow. Old Chiliarch (pushes him:) Go once more. (Puppy pays his respects to Shanshouma.) Shanshouma: What did you come again for? Puppy: I came for a second helping. Your Honor, Uncle is an old man. Consider how he raised you when you were small. But even leaving Uncle aside, that aunt of yours used to hold you in her arms while you slept, and as a small child you would pee on her and get her all wet. So for Aunt’s sake, please forgive him. Shanshouma: Do you want to take punishment in his stead?

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Puppy: I’ll take it, I’ll take it. Shanshouma: Beat him another twenty strokes. (They beat Puppy.) Drag him out. (Puppy stumbles out.) Old Chiliarch: Puppy, how did the talk go? Puppy (holding his buttocks with both hands:) This time I can’t go anymore. (Old Chiliarch pushes him again. To Shanshouma:) Your Honor! Shanshouma: Take him down! Puppy (in distress:) Have pity! I can’t take any more of this. Shanshouma: Bring the bronze execution sword: we’ll lop off that donkey head of yours. (Puppy stumbles out.) Old Chiliarch: Go in once more and intercede for me. Puppy: You old whoreson! Pull yourself together and go yourself ! (Exits.) Shanshouma: Bring him here. How much did the other one take for him? Secretary: He took sixty strokes. Shanshouma: Then beat him forty strokes. (They beat Old Chiliarch.) (Sings:) [Wild Geese Alight] Indeed there is strength in your wrists, But in me the intent behind it hardly exists. Truly in the kitchen there’s one with fervid capability,48 Yet between him and me there’s no hostility. [Victory Song] With this beating, a whack is like a blade’s pointed end, And as each blow descends, a layer of skin it does rend. He ends in that pool of blood, unable to bear the pain. How can I, in the commander’s chair, my composure maintain? But he was derelict in his military duty. If he is absolved, who shall bear the blame? (Speaks:) How many strokes has he been beaten? Secretary: He has been beaten thirty strokes. Shanshouma (sings:) We have only reached to thirty blows. You damned fool!49 In your case, the official is not harsh, but harsh are the claws and fangs of your underlings. (Speaks:) Go on beating him! Secretary: The punishment is done. Help him out. Old Chiliarch: My Lady, they have beaten me to death! Who could have known that he would take no pity on me but would instead give me such a beating! I am a dead man! Old Lady (crying:) Your Honor, what did I say? I told you to drink less. Old Chiliarch: My Lady, he gave me such a beating that I am as good as dead. My Lady, if there’s some hot wine, pour me a cup.

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Shanshouma: Secretary, tomorrow we shall take a sheep and some wine and go to assuage his pain.50 (Sings:) [Mandarin Ducks Coda] In leading your troops you should brave sleeping on frost and snow, The moon and the stars should be your cloak as you march into battle. You had given me your pledge That you would crave the cup no more, As the saying goes, “Do not early words forget, And thus avoid later regret.” Who told you to sink in drunken stupor from dusk to dawn? So now to whom should the rancor turn? All this comes of being besotted with wine and song. (Exit together.)

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(Old Chiliarch enters together with Old Lady.) Old Chiliarch: I thought that when Shanshouma became marshal he would watch out for me. Who would have thought that he would beat me one hundred strokes. My Lady, close the door, and no matter who comes, you are not opening the door. Old Lady: Your Honor, you have been beaten really bad! I’ll close the door. And now that we close the door and sit at home, what calamity could befall us from heaven? (Shanshouma enters together with Chacha, Secretary, and Guards.) Shanshouma: Secretary, today I am going with my wife, leading a sheep and carrying wine, to soothe Uncle’s pain. Secretary: Yes sir. Shanshouma: We have already arrived at Uncle’s house. Why is the gate closed? Go and call out to have someone open the gate. (Guard calls.) Shanshouma (sings:) [Zhenggong mode: Proper Decorum] It’s because he was derelict of duty That he suffered cruelty. Ruling according to the laws of state, my judgment was right and clear. Still for a close kinsman and a respected elder, there are taboos, So today outside his gate, apology for my offense I choose. [Rolling Silken Ball] Quick as can be, We have arrived at his abode. Don’t say it is the marshal of the Southern Expeditionary Forces, Just say a relative has come, bearing mutton and wine.

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Don’t tarry then, And you won’t be upbraided. You must not unduly alarm him, And when he hastens to open the gate, Inform the officer,51 that old uncle of mine, That his nephew Shanshouma and Chacha have come to assuage his pain, That he should have no fear or suspicion! (Speaks:) How is it that after all this calling, they haven’t opened the door? Secretary, you go and call out for me. Secretary: Yes sir. (He calls out at the door.) Old Wanyan, open up, I have something to say to you. Old Chiliarch: I’m not opening the door. Secretary: You really are not going to open it? Old Chiliarch: I’m not opening it. Secretary: That old indictment of yours was not changed after all, so we must still call you to account. Old Chiliarch: You want to call me to account, so just give another hundred strokes. But even if I were to die, I won’t open the door, so do what you like. Secretary: Your Honor, old Wanyan insists on not opening the door. What shall we do? Shanshouma (sings:) [Companion for Studying] He said great is his grievance fair, The bond between uncle and nephew is hurt beyond repair. Have his deposition for all you care, He will not change his heart or bow low with humility to bear. “Death? So what? What’s the harm in a cup of weak wine?” To the end, the responsibility is his to decline.52 (Speaks:) Chacha, you call at the gate. Chacha (calls at the gate:) Uncle and Aunt, it’s me, Chacha, outside. Open the door, open the door! Old Lady: Just think: Chacha interceded for you yesterday, and it was only that obstinate nephew Shanshouma who refused to pardon you. For Chacha’s sake, let’s open the door. Old Chiliarch: Since she bothers to come here today, she could have pleaded for me some more yesterday. Suppose I was already beaten to death—just don’t open the door. Shanshouma (sings:) [Little Monk] He is asking me, “Why did your whole family come today? But the beating you gave me yesterday: was it just anyway?

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Face I have lost, too far gone beyond the azure clouds to consider.53 From now on I might as well be an unreconstructed old wine bibber. Thank you very much, wise and virtuous lady!” No, no, no! No chance that he will hasten down the steps to welcome me! (Speaks:) Let me go myself. Uncle, your nephew Shanshouma is here, open the door. Old Lady: Since the marshal has come here himself, we must open the door and invite him in. (She opens the door.) Shanshouma (kneels together with Chacha and Secretary:) It is your nephew who has behaved wrongly! Old Chiliarch: You have dealt me such a beating yesterday, what kind of brazenness is this to come and visit me now? Shanshouma: Uncle, that was none of your nephew’s doing. Old Lady: Your uncle is so old. When you dealt him that beating, it was practically the death of him! Shanshouma (sings:) [Paddling on the River] You made a scene, To vent your spleen. As for me, I was upholding an official duty, The laws to enact with clarity. Did I not know that you are advanced in years? And did I purposely give you those one hundred blows? Old Chiliarch: After I suffered this beating because of you, you still say it was none of your doing. Was it my doing then? Shanshouma (sings:) [Seven Brothers] You don’t need to guess left and right: Since you were wearing this plain gold plaque, You should have defended the mountain pass steadily and warily. Who told you to relish the moon and drink your fill in midautumn revelry? Were the goblets of wine debts from a former life—now your indemnity? [Plum Blossom Wine] Ah! This round is not ending as accord. But certainly it was neither the central commissioner Nor the western censor Who beat you till your flesh was torn. Pray consider: In that indictment there was nothing false or sly. Would he who flogged you please step here,

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And quickly the official plaque lift high, So that the old gentleman may observe it bright and clear? Old Chiliarch: According to you, then, who was it that dealt me those hundred strokes? Shanshouma (sings:) [Conquering the Southland] Ah! It was none other than the Tiger Head Plaque that authorizes its bearer to act on his judgment. Old Chiliarch: So military regulations decreed my beating? Shanshouma (sings:) I beat you until you wept and wailed, As dry firewood wet flesh flailed. Your bloody beating was by fate ordained: Don’t say that as a nephew I was stained, Or that I the womb shared by you and my father obliviously disdained. (Speaks:) Chacha, hurry up and kill the sheep and pour the wine to assuage Uncle’s pain. (Sings:) [Coda] Quickly pour out the wine that will salve pain, And fast slaughter the lamb that will with wine be twain, So that Uncle may be in his state of drunken mirth of yore. For you to live thus to a ripe old age Will be a great blessing for us all! Old Chiliarch: Since this is how it is, I won’t bear grudges any longer and will just help myself to some wine. Old Lady: You had better remember the pain you suffered during the beating and drink less. Shanshouma: It is not that I would the loving bond between uncle and nephew shatter, But the regulations of the Tiger Head Plaque are no laughing matter. Now as I explain the case from beginning to end, The tie between loyalty and filial piety we will comprehend.54

Topic: The Director of the Bureau of Military Affairs Judges a Major Case Title: The Bearer of the Tiger Head Plaque Acts on His Own Authority

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n ot es 1. Sun bases his opinion on two poems in Qinghe ji 清河集 by Yuan Mingshan 元明善 (1269–1322); see Sun Kaidi, Yuan qujia kaolue. 2. Dexing is located near modern-day Xuanhua, about a hundred miles northwest of Beijing. 3. There are specific injunctions against drinking for chiliarchs in historical records (Tuotuo, Jinshi 44.996). 4. See West, “Jurchen Elements”; Xu Shuofang, Xu Shuofang ji, 97–101. 5. On Jin history and culture, see Tillman and West, China under Jurchen Rule; Franke, “Chin Dynasty”; Mote, Imperial China, 193–248, 265–88. 6. Hangyuan (“Music Bureau”) is literally “courtyard of the entertainers’ guild,” which commonly refers to pleasure quarters or theater districts (see the introduction). Either The Register of Ghosts is referring to a totally different play, or the line may allude to the fact that an actor is playing the minister in the hangyuan. The play we have seems to be set before Aguda became Jin emperor (and certainly before his death), but the kind of anachronism that allows the retroactive use of an emperor’s “temple name” is not uncommon, especially in drama and fiction. 7. The Jurchen language is Tungusic (belonging to the Altaic language family), and it must have translated into different rhythms and metrical qualities, whose contours are unfortunately no longer known. The tune titles left in transliteration in this act do not make sense in Chinese and seem to have been derived from Jurchen or Mongolian. 8. See West, “Jurchen Elements.” 9. Ibid., 274–82. 10. Ibid., 293–94. Jurchen protagonists enthralled with music, dance, or the pleasure quarters appear in The Prime Minister Hosts a Feast at the Hall of Spring Splendor (Si chengxian gaohui Lichun tang 四丞相高 會麗春堂) by Wang Shifu 王實甫; Iron Crutch Li Delivers the Golden Boy and Jade Maiden (Tieguai Li du jintong yunü 鐵拐李度金童玉女) by Jia Zhongming; Love in the Purple Cloud Pavilion, attributed to Shi Junbao; and the southern play A Playboy from an Official Family Takes the Wrong Career. One of Li Zhifu’s lost plays is titled The Wrong Career (Cuo lishen 錯立身) and may be a reworking of this last play. Four of Guan Hanqing’s plays feature characters that use Jurchen expressions—Madame Liu Celebrates Five Lords in a Feast (Liu furen qingshang wuhou yan 劉夫人慶賞五侯宴), Boudoir Beauties at Bowing to the Moon Pavilion (Guiyuan jiaren Baiyue ting 閨怨佳人拜月亭), A Cunning Maid Maneuvers Romance (Zha nizi tiao fengyue 詐妮子調風月), Madame Deng Grievously Laments Cunxiao (Deng furen kutong ku Cunxiao 鄧夫人苦痛哭存孝). 11. A good example is Cheng Ying in The Zhao Orphan. 12. Lunyu zhushu 13.18. In Han Feizi jishi (49.1057), “Wu du” 五蠹, the story of the stolen sheep is cited as an example of how Confucian morality can undermine loyalty to the state. 13. Mengzi 13.35. When Xianqiu Meng cites an ode (Mao 205) on a ruler’s universal jurisdiction and asks Mencius whether Shun’s father, by that logic, should become his subject, Mencius basically changes the subject and talks instead about Xianqiu Meng’s misunderstanding of the ode (Mengzi 9.4). 14. See, for example, the story of the Chu nobleman Qiji in Zuozhuan (Xiang 22.6, Yang 1069–70). 15. Stephen West points out the use of such plaques by the Mongols; he cites instances that make it clear that the characters corresponding to bianyi xingshi are carved on the plaque (“Jurchen Elements,” 279–80). 16. Judicious compromise, or “the weighing of differences” (quan 權), is an important concept in early Chinese thought; see Lunyu zhushu 9.30. The scholar Huang Kan 皇侃 (sixth century) glosses quan as

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19. 20. 21. 22. 23. 24. 25. 26. 27. 28.

29.

30.

31. 32. 33.

34.

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“going against constancy and yet abiding by the way” (fanchang er heyu dao 反常而合於道). See also Zuozhuan (Cheng 15.1, Yang 873): “Sages reach optimal positions with their principles; second to them are those who keep their principles; the lowest are those who lose their principles” (sheng dajie ci shoujie xia shijie 聖達節，次守節，下失節). See Zang Maoxun, YQX, 2:1122–54. “Chacha” is the usual name for Jurchen women. According to Jiao Xun, “Jurchens and Mongols often call their women ‘Chacha’ ”; see Jiao Xun, Jushuo 1.17. Chacha’s self-introduction conforms to the stereotype of the martial, artless nomadic woman. The relevant term here is tama 踏馬, also given as xima 躧馬, which indicates that the actor mimics riding on a stick called a bamboo horse (zhuma 竹馬), probably something akin to a hobbyhorse. The coat is made of the feathers or down of the bird known as sushuang 鷫鷞, identified as a kind of wild goose. These soldiers are also serving as farmers in peacetime under the so-called tuntian 屯田 system. The term duanchang 斷場 literally means to pack up the barriers that mark the arena of the hunt. A saying also quoted in The Zhao Orphan. According to Gu Xuejie, the plaque with the insignia of tigers makes Shanshouma a myriarch, or one in charge of ten thousand troops (Yuanren zaju xuan, 309–10). The term we’ve translated as “community leader” is jiashou 甲首 and means, literally, the head of a jia 甲, a unit of twenty households in the Yuan administrative system. The “valiant vanguard” (ganzhan jun 敢戰軍), “those who dare to fight,” are likely in the vanguard and put in positions of the greatest danger. This line also appears in a song suite about romantic dalliance by Guan Hanqing (Huijiao xiangzhu Guan Hanqing ji, 1655–1658). In the Yuan system, the ruler placed his most trusted followers as “palace guards who took turns” (fan su 番宿). Descendants of these guards were entitled to serve as officials. This is another example of a Yuan practice woven into the supposed Jurchen context of the play. He Liangjun in Siyou zhai congshuo 四友齋叢說 singles out “A Wind Bringing Down Plum Blossoms” (Luo meifeng 落梅風) for praise, considering its pathos “unalloyed dramatic force” (zheng danghangjia ye 正當行家也). The line He cites has “I am a Jurchen” (an Nüzhi ren 俺女直人) instead of “I am a poor man” (an qiongrenjia 俺窮人家). His comment is included in Cheng Bingda and Wang Weimin, Zhongguo lidai qulun shiping, 94. Most scholars take the tune title, “Enahu” 阿那忽, to be a Jurchen or Mongol word. Some commentators associate ena with enuo 婀娜 (graceful). Two other tune titles in this act, “Hudubai” and “Tangwudai,” also appear to be transliterations of Jurchen or Mongolian phrases. See chap. 1, this volume, n. 71. The phrase in the original, kukou 苦口, literally “bitter mouth,” means insistent and patient advice but also puns on the idea of “bitter but effective medicine” (kukou liangyao 苦口良藥). For “kinsmen,” the text has sadun 撒敦, the transliteration of a Mongol word that means “relatives.” The term for “wedding” here is baimen 拜門, literally “bowing at the gate.” According to Hong Hao 洪皓 (1088–1155), a Song official detained for fifteen years in northern China when it was under Jurchen rule, Jurchen parents did not interfere when their daughters formed liaisons and left home. Only when a woman bore a child would she come home with her man, who would bring gifts, “bow at the gate,” and behave like a son-in-law (Songmo jiwen 松漠紀聞), cited in Gu Xuejie, Yuanren zaju xuan, 317. Jurchen leather belts were called tuhu 兔鶻, 吐鶻, and their trimmings indicated hierarchy: jade was for the highest rank; next in line was gold (Tuotuo, Jinshi 43.985).

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35. The description of Jinzhuma’s handsome appearance echoes the self-description of another Jurchen character, Jin Anshou, in Iron Crutch Li Delivers the Golden Boy and the Jade Maiden, in Zang Maoxun, YQX, 6:2780. 36. Wang Guowei identifies zhelagu 者剌古, also written as lagu 剌古 or zhegu 鷓鴣, as a Jurchen or Mongol tune (Song Yuan xiqu kao, 3). Stephen West identifies this as an “unsectioned bamboo pipe-flute” (“Jurchen Elements,” 287). 37. In 1153, the Jurchens moved their capital from Shangjing 上京 (now A-cheng county in Jilin province) to Yanjing 燕京 (modern-day Beijing), which was renamed Zhongdu 中都 (Central Capital). 38. In Zhongyuan yinyun, Zhou Deqing (d. 1365) mentions “Alluring Body” (Fengliu ti 風流體) as a Jurchen tune (Zang Maoxun, YQX, 1:78). 39. The account here differs from other sources on how Jurchens sinicized their names. Tao Zongyi lists thirty-one Han surnames, and the equivalents are different from what is enumerated (Chuo geng lu 1.14). See also Prefect Wang’s self-introduction in act 3 of The Moheluo Doll. 40. Zhulizhen 竹里真 may be a variant of Zhuyilijin 諸移里堇, from a Jurchen word for “tribal leader.” Huihui 回回 came to mean “Muslim” in the Chinese tradition, but here Huihui could also be the transliteration of a Jurchen word. 41. The word translated as “officers” is yila 曳剌, also written in Chinese as yiluohe 曳落河 and yelao 爺 老, the Khitan word for “strongman” or “soldier.” In fiction and drama, Guanxi (West of the Pass) is the region that produces big, burly men. 42. According to Gu Xuejie, tikong 提控 (which we have translated as “officer”) refers to the prosecutor (Yuanren zaju xuan, 327). As the marshal or myriarch, Shanshouma’s office has under his command a prosecutor (tikong) whose task is to put together the documents detailing the charge. But in act 4, Old Chiliarch is also called Old Tikong, which may indicate his rank as an officer before he became chiliarch. 43. The phrase zhebo 者波 in the original, which we have translated as “what if I were to,” expresses something hypothetical. The phrase daisha 歹殺, often used in parallel with qiangsha 強殺 in Yuan plays, marks an emphatic way of referring to oneself (“As for me . . .”). 44. Abnegation of an older, more exalted person in front of a younger person or one of lower rank (in the family or in other hierarchies) would diminish the latter’s life span and good fortune. See chap. 5, this volume, n. 12. 45. On the meaning of “mark the page,” see chap. 5, this volume, n. 20. 46. Jiang Shang or Jiang Ziya (ca. twelfth century b.c.e to eleventh century b.c.e.) was adviser to King Wen and King Wu of Zhou. For Guan Zhong of Qi, see chap. 4, this volume, n. 34; for Fan Li of Yue and Zhang Liang of Han, see chap. 2, this volume, nn. 21, 22, 52, and 66. 47. Chacha is implying that the proper laws should comply with the way of heaven—by ruling that his uncle and surrogate father should be executed, Shanshouma is going against the way of heaven. 48. The line means, literally, “there is an enthusiast in the kitchen.” The idiom is often used in a positive context, referring to how fervor in the family can solve problems. Here it is used with a twist to indicate that the officers are beating Old Chiliarch ferociously. 49. Hong Hao glosses wabolahai 洼勃辣駭 as the Jurchen phrase meaning “to beat someone to death.” Wang Hong, in his annotations to The Tiger Head Plaque, suggests that wabulahai 瓦不剌海 is a variant of the same expression, and since chi 赤 is the Jurchen word for “you,” the whole phrase chiwabulahai 赤瓦不剌海 would mean “You deserve death!” or “Damn you!” (Zang Maoxun, YQX, 2:1150). The context, however, is somewhat ambiguous. Shanshouma can be referring either to himself or his uncle. Guan Hanqing uses the same phrase in Lamenting Cunxiao (Huijiao xiangzhu Guan Hanqing ji, 141, 158).

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50. The expression here is nuantong 暖痛, literally “to warm someone’s pain.” It was customary for friends and relatives to bring food and drinks to someone who suffered beating in court to assuage his pain. 51. Here Old Chiliarch is referred as tikong. It may mean that he has lost his position as chiliarch. 52. The original line (bufu shaomai 不伏燒埋) means “to refuse to submit to the fees for the cremation or the burial.” According to Yuan laws, the guilty party had to pay for the funeral (cremation or burial) of the person who suffered wrongful death (Song Lian et al., Yuanshi 103.2625–33). 53. Not only has he lost face, his “face” is so far gone that it might as well be beyond the azure clouds. 54. The original four lines rhyme as in many quatrains—that is, the first, third, and fourth lines rhyme.

Female agency

7 r e s c u In g a s I s ter

guan HanqIng Trans laTed by Ge o rGe Kao a n d Wa i -yee li

IntroductIon Wa I- y e e l I

g

uan Hanqing (ca. 1224–ca. 1300) was the most prolific playwright of northern plays. Jia Zhongming described him as “the leader of the Pear Garden” (liyuan lingxiu 梨園領袖). He was firmly ensconced in the theatrical culture of his time, forming friendships with actors and other playwrights, and he is said to have “applied powder and paint to his face” (mianfu fenmo 面傅粉墨) and acted on stage.1 A native of Dadu, he traveled south to Hangzhou. He is credited with no less than sixtyeight plays, of which eighteen have survived in whole and three in fragments, although in some cases the attribution has been debated.2 Four of these plays are found in Yuan Editions. Guan was also an acknowledged master of songs (sanqu 散曲), but only fifty-seven songs (xiaoling 小令) and fourteen song suites (taoshu 套數) attributed to him survive. One famous song shapes his image as the ironic, playful, and defiant habitué of theaters and pleasure quarters: “I am the resounding bronze bean that cannot be steamed to mush, boiled to pulp, hammered to submission, fried to explosion” (Wo shi ge zhengbulan zhubushou chuibubian chaobubao xiangdangdang yili tongwandou 我是個蒸 不爛、煮不熟、捶不扁、炒不爆、響噹噹一粒銅豌豆); he will stop going down the road of “mists and flowers” only if Yama, the king of hell, personally summons him and drags him down with the help of gods and demons. With the canonization of vernacular fiction and drama, Guan Hanqing is honored, among other things, for championing the downtrodden. Tian Han’s 田漢

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(1898–1968) play Guan Hanqing 關漢卿 (1958) dramatizes how he criticizes social ills and expresses his rebellion by writing The Injustice Done to Dou E. In some ways, Guan Hanqing’s place in the canon answers the need to identify “the greatest Chinese playwright.” As Patricia Sieber has pointed out, critical traditions on Guan Hanqing provide insights into textual transmission, the reception of Yuan drama, as well as shifting categories of significance in literary history.3 Guan Hanqing was a versatile playwright. He wrote historical plays dramatizing the pathos of heroes blighted by fickle fortune or humbled by mortality; famous examples include Lord Guan Attends the Meeting Alone with a Single Sword (Guan dawang dandao fuhui 關大王單刀赴會) and Guan Yu and Zhang Fei Go Together to Western Shu in a Dream (Guan Zhang shuangfu xi Shu meng 關張雙赴西蜀夢), both featuring heroes from the era of the Three Kingdoms. His courtroom drama presents Judge Bao as the agent of justice. Like Selling Rice in Chenzhou, Judge Bao Thrice Ponders the Butterfly Dream (Bao daizhi sankan hudie meng 包待制三勘蝴蝶夢) and Judge Bao Uses a Ruse to Execute Lu Zhailang by Guan Hanqing portray a Judge Bao who combines incorruptible sagacity with trickery, the pursuit of the rule of law as well as the mastery of its creative twist. Another famous play about crime, punishment, and justice (or rather its miscarriage) is The Injustice Done to Dou E That Moves Heaven and Earth (Gantian dongdi Dou E yuan 感天動地竇娥冤). Instead of being classified as courtroom drama, however, The Injustice Done to Dou E is often lauded as tragedy, ever since Wang Guowei characterized it as such in 1912.4 Wrongfully accused of murder, Dou E is executed and only posthumously exonerated. However, instead of dwelling only on the pathos of victimhood, Guan Hanqing emphasizes Dou E’s agency as she challenges her mother-in-law, denounces the villains, and curses heaven and earth and official corruption.5 Such strength of character is evident in many of Guan’s heroines, be they proud courtesans, headstrong ingenues, savvy commoners, cunning maids, determined wives, or selfless mothers. Indeed, many of his plays are “female texts” (danben), of which our play is a notable example. Zhao Pan’er Uses Seductive Wiles to Rescue a Sister Courtesan (Zhao Pan’er fengyue jiu fengchen 趙盼兒風月救風塵), or Rescuing a Sister in short, tells the story of how a naive courtesan, Song Yinzhang, is tricked into marrying an abusive and manipulative suitor, Zhou She. In order to extricate Song Yinzhang from this dismal union, Zhao tricks Zhou into believing that she is ready to marry him, dowry and all, if only he divorces Song. The play ends with a prefect dispensing punishment to Zhou and restoring Song to her earlier suitor, a poor scholar. Courtesans have significant roles in about a dozen extant Yuan plays.6 In the rich corpus of writings about courtesans in the Chinese tradition, these Yuan plays occupy an important niche. Just as in poems, stories, and plays from other periods, we have here courtesan-poets who master the ornaments of literati culture, scholar-courtesan romances, stories of betrayal and abandonment, resourceful courtesans who take their fates into their hands, and devious prostitutes who ruin families. But the particular combination of romantic glorification of love and its ironic deflation is quite distinctive in

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Yuan drama. There is deeper empathy with the courtesan’s perspective. Sometimes we seem to have an insider’s view as a courtesan sings of her dilemmas, insights, triumphs, or defeats; after all, the world of the theater and that of the pleasure quarters overlap. Theatrical illusion and romantic illusion are intertwined, and the actress playing the part of courtesan is probably also describing her own situation. In Prefect Qian Tactically Favors Xie Tianxiang by Guan Hanqing, the courtesan Xie Tianxiang sings of her plight: “You said that the parrot in the golden cage can recite poetry / And is thus my fitting analogy. / But the greater this cleverness, the more escape becomes an impossibility! / Skills with the flute and the lute just means patrons I have to enthrall, / Excellence in singing just means that I am at their beck and call.”7 Sometimes the longing for romance is combined with pragmatic calculations. In Prefect Qian Tactically Favors Xie Tianxiang, for example, Qian takes Xie into his household so that he can keep her “pure” for her lover, the poet Liu Yong. Having plighted troth with Liu, Xie is nevertheless not above wondering why the prefect is not showing any interest in her. Confined in Qian’s home, she longs for the “conditional freedom” of a courtesan’s life: “In the past when I was a courtesan in houses of pleasure, / It was nothing more than giving at a few banquets my fair measure, / When I got home I was still a spirit unbound. / But now I have been thrown into this bottomless prison!” In Du Ruiniang Shows Her Wit at Golden Thread Pond, also by Guan Hanqing, the courtesan Du Ruiniang seems to see through all the clichés of scholar-courtesan romances even as she hankers after that ideal: “I see all too clearly: just as clouds disperse after the rain, your passion is spent, / Yet I cannot help hoping that a lasting union is what you meant!” Zhao Pan’er in our play is more deeply cynical. She can maneuver a happy ending for a sister in her trade, but her compassion is ironic and clear-sighted. Here sisterhood is the female and déclassé version of the Peach Garden Oath sworn by the legendary heroes in stories about the Three Kingdoms. Zhao Pan’er saves one of her own like a knight-errant, but she does so using the ploys of a courtesan, freely couching her heroic exploit in antiheroic self-deprecation.8 She does not balk at twisting facts in front of the magistrate in the last scene in order to discredit Zhou She. Ultimately she mocks the world as well as herself as she turns potentially tragic self-understanding into the stuff of comedy. Nothing escapes the caustic wit of Zhao Pan’er—the empty vows of patrons, the vain hopes of prostitutes, the trap of respectability, the illusion of romance, lies by all and sundry. Her relentless self-mockery and defiant independence remind us of Guan Hanqing’s selfportrayal in the cited lyric. Rescuing a Sister is mentioned in The Register of Ghosts and now exists in Anthology as well as Ancient Masters in the Maiwang Studio Collection. George Kao’s translation (A Sister Courtesan Comes to the Rescue), published in Renditions (1998), is based on Anthology. We are presenting a revised edition based on Ancient Masters; significant differences with Anthology are explained in the notes. There is another translation of the play (Rescuing One of the Girls, also based on Anthology) by Stephen Owen in An Anthology of Chinese Literature: Beginnings to 1911 (1996). The ironic deflation of romance in the play

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is toned down in the version from Anthology, which presents Scholar An Xiushi as a more plausible Confucian character and puts a greater emphasis on respectable marriage as a real alternative for a courtesan.

rescuIng a sIster D r a m at i s P e r s o n a e

Role type Opening Male Old Woman Extra Female Extra Male Female Lead Clown Innkeeper Extra Attendant

Name, social role Zhou She, scion of a wealthy official family Mother Song, Song Yinzhang’s mother Song Yinzhang, a young courtesan An Xiushi, a scholar betrothed to Song Yinzhang Zhao Pan’er, a sister courtesan of Song Yinzhang Idle Boy, a hanger-on with the courtesans Prefect Zhang Qian

ac t 1

(Opening Male dressed as Zhou She enters.9) Zhou She (recites:) Full thirty years I boozed and whored with pluck. For two decades the Flower Star has brought me luck.10 I’ve never known the price of rice my whole life long, But always want for money for women, wine, and song. My name is Zhou She, and I am a native of Zhengzhou, the son of Deputy Prefect Zhou. Ever since I was a youngster, I’ve been a frequent patron of the flower houses. There is a singsong girl in this city of Bianliang11 named Song Yinzhang. She has her heart set on marrying me, and I am eager to take her for a wife. The trouble is her mother will not consent to the marriage. I’ve just come back from some business.12 Today is an auspicious day, so I am making this trip—for one thing to pay my respects to the mother, and for another to bring up this matter of marriage. (Exits.) (Old Woman as Mother Song and Extra Female as Song Yinzhang enter.) Mother: “Flowers may come back in bloom, but we will not our youth resume.”13 This old party is a native of Bianliang, surnamed Li. My husband, surnamed Song, is dead

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these many years, and I have only one daughter, named Song Yinzhang. This child of mine is good at all kinds of word games—Splitting the Character, Stringing the Lines, you name it: she knows them all. There is this Zhou She from Zhengzhou who’s been going with my child, and they have set their hearts on getting married. But I am fobbing him off with lies and excuses: I’m only afraid my child will suffer in the end.14 Yinzhang: Mama, don’t worry. I have my heart set on marrying him. Mother: As you will, as you will. (Zhou She enters.) Zhou: This is Zhou She. Here I am, right at their doorstep. Might as well go in. (He greets Song Yinzhang.) Yinzhang: Here you are, Zhou She. Zhou: I’ve come straight here to ask about our marriage. How does Mother feel about it? Yinzhang: Mother has given her consent. Zhou: Let me go see her. (He greets the old lady.) Zhou: Mother, I’ve come straight here to ask about our marriage. Mother: It’s an auspicious day today. I’ll give you my consent. Only you must not mistreat my child. Zhou: I wouldn’t dare mistreat Big Sister. Go invite all your sisters and brothers,15 Mother. I’ll take care of some things and be right back. (Exits.) Mother: Daughter, you stay home and get ready. I’ll go invite all my old sisters over. (Exits.) Yinzhang: Mother’s gone. Let me see who’s coming.16 An Xiushi (enters:) Qu Yuan drowned in the river to his everlasting pain; Yan Hui rejoiced in the Way and always disdained gain.17 This humble scholar is An Xiushi, a native of Luoyang. All my life I have had this weakness for wine and women.18 When I came here to Bianliang, I met and kept company with a singsong girl named Song Yinzhang. At first she promised to be my wife, but now she’s going to marry Zhou She. She has a sworn sister named Zhao Pan’er; let me go ask her to put in a word for me. Here I am already.19 Is Sister Zhao home? (Female Lead dressed as Zhao Pan’er enters.) Pan’er: This is Zhao Pan’er herself. I am just about to do some needlework20 when I hear someone at the door. Let me see who it is. (They greet each other.) I was wondering who it might be. So it’s you, my brother-in-law. What are you here for? An: I’ve come specially to ask you a favor. Early on your sister Yinzhang promised to marry me, but now she’s going to many Zhou She. I beg you to have a talk with her on my behalf. Pan’er: Didn’t she pledge her troth with you earlier? And now she is going to marry somebody else! Truly, these romantic unions do not come easy! (Sings:)

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[Xianlü mode: Touching Up Red Lips] A prostitute follows and keeps company And spends a lifetime in pursuit of money. When it comes to the final reckoning,21 Why yield a hundred times, a thousand whims tolerate? It’s all because she values the romantic élan of her mate.22 [River Churning Dragon] The way I see it, a predestined pair Is truly not something to manage then and there. How can you be sure you’ve pleased? How is the moment of mutual understanding seized? Even if, head over heels, a match is soon made,23 She may end up beating her breasts, with belated regrets she can’t evade. She seeks a bright future And a “happily ever after” ending, But they are hard to find—just like a black sea, and as heartrending! Just figure: the human heart is hard to divine, What is there to know about heaven’s design?24 [Oily Gourd] As for the matrimonial registry, is it by you and me done?25 Who wouldn’t want to pick a clever and handsome one?26 They all choose over and over, always turning once more:27 Marry an honest and down-to-earth man, The fear is a lifelong mismatch hard to ignore. Marry a clever and handsome one, But being easily abandoned halfway one must abhor. Why hide in dog piss? Why huddle in cow dung? All of a sudden you fall flat on your face in shame! Then your eyes will be opened, but who’s to blame? [Joy for All Under Heaven] I think my companions early married Waste away like ghosts, worn-out and harried. Much to forbear, hard to tell, Unable to quell Indignities pell-mell.28 I’ve seen comely maids seeking a brave new life, And for days my mulling ran rife:29 A life without man I bear—but why in cock’s name should I care?30 (Speaks:) Brother, I too would like to marry one of my patrons. But let me spin some scenarios. An: What scenarios are those?

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Pan’er (sings:) [Song of the God Nezha] Let’s say as an honest woman I masquerade, And the three compliances and four virtues I parade.31 But we can’t help being wicked harlots32 By three hearts and two minds unmade. Indeed, what’s the third act? Whence the finale? Though my home is in the flower-and-willow lane, How can that be anything but a bane? [Sparrow on a Branch] The charms I sell may be fake,33 Yet he too flaunts his passions like a heedless rake.34 Every single one of them, basic bonds defeating, Is guilty of wild conduct and cheating: Mostly scoundrels that deserve a beating!35 (Speaks:) If someone visits us two or three times and we ask him for money,36 he will say, “This whore is blackmailing me!” (Sings:) They turn around and accuse us of blindly overreaching!37 [Dodder] Some girls gladly as courtesans remain, Some readily the life of a concubine obtain. Those running a household get name and gain in vain,38 Those selling lies and smiles hope for profit plain,39 Those marrying have precedents that lessons contain.40 Truly, she is heading north when southward she should go, Hurrying east even while the westward sign beckons so.41 (Speaks:) Brother, you just sit tight and wait awhile. Let me go speak to her. If I succeed, don’t be too happy; if I fail, don’t feel too bad. An: I don’t have to sit around here. I’ll just go home and wait for your message. Sister, watch out for me. (Exits.) (Pan’er greets Song Yinzhang.) Pan’er: What a brazen little hussy! Look at her sitting sideways!42 Where are you going to entertain, Sis? Yinzhang: I’m not going anywhere to entertain. I’m going to get married. Pan’er: That’s just what I am here for, to vouch for a match for you. Yinzhang: Who are you vouching for? Pan’er: I am vouching for the scholar An Xiushi. Yinzhang (shows anger:) If I were to marry the scholar An, we’d make a fine pair beating our beggar’s clappers to lines from “Lotus Blossoms Falling”!43 Pan’er: Whom would you marry then? Yinzhang: I’m marrying Zhou She.

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Pan’er: Don’t you think it’s a bit early for you to be married? Yinzhang: What do you mean early? I’m tired of this lousy life—Big Sis this and Big Sis that, pretty soon I’ll grow a big cyst.44 When I get married and become a Mrs. Zhang or Mrs. Li, I will as wife have a respectable name, and even as ghost I’d be proud all the same. Pan’er (sings:) [Welcoming the Drums in the Village] Before you leap you’d better think thrice, Or at least twice.45 Youth is still on your side, Let me find you another match as time I bide. You may think it chipper To guard a family fortune like a bronze dipper.46 Yet as your no-good sister, I must give you my heartfelt advice: I fear you will find male control unbearable: it’s a roll of the dice! (Speaks:) You know, Sis, husbands do not make good lovers in gay quarters, and good lovers in gay quarters do not make good husbands. Yinzhang: Tell me more. Pan’er (sings:) [Song from the Yuanhe Reign] He who makes a good husband cannot become in gay quarters a good lover; He just doesn’t get the cover.47 He who makes a good lover knows how to subtly flatter, But he who makes a good husband is too honest to chatter. Yinzhang: My Zhou She looks so handsome in his stylish clothes. I think he’s adorable! Pan’er (sings:) That rogue all decked out in a dazzling guise,48 What does he know about basic human ties? (Speaks:) What makes you so eager to marry him, Sis? Yinzhang: I want to marry him because he is considerate of me. Pan’er: How is he considerate of you? Yinzhang: All year-round, through the four seasons. In the summer when I take my nap, he sits at my bedside and fans me; in the winter, he warms up the quilt for me so I can sleep well. Whenever I go out to entertain, no matter what dress I am wearing or what jewelry I am taking, he helps me tie the knots and affix the hairpins. Because he is so considerate of me, I have my heart set on marrying him. Pan’er: So that’s why you are marrying him. (Sings:) [Beauty on Horseback] Now I’ve heard you explain Why with him you remain.

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I can’t help the smile stealing across my face. You said in summer months he fans you to sleep, And in winter months a charcoal fire he would keep— Making for your cotton-padded coat a warmth so deep!49 [Roam the Four Gates] During meals, he uses the spoon to remove all skin and bones, And when you go out, he fixes your sleeves, ties the collar with care, Puts on your hairpins, and combs your hair. All these are nothing but empty smiles— Womenfolk are forever charmed by such wiles. [Winning Gourd] Don’t ever think this profligate will for you provide.50 Once you in his home abide, You’ll be in half a year cast aside. Him you won’t dare to be defying:51 Feet kicking and fists flying, He’ll beat you till you can’t stop sobbing and crying. [Same tune as above] By that time your boat will be in midstream, too late to mend. And there’s no one to blame from your end. So to avoid regrets, use your head beforehand. But it’s no use for me to try a message to send. The day will come when I’ll have to rescue you, you Rock of a Pining Wife.52 By and by, Sister, when you are in distress in future, don’t come to me for help. Yinzhang: Even if I get a death sentence, I will not come to you for help. (Zhou She enters.) Zhou: Servants, make a nice display of these wedding presents. Pan’er: Well, if it isn’t Zhou She! That rogue had better keep his mouth shut. One peep from him, and I’ll let him have a few choice words of my own. Zhou: Isn’t that young lady yonder Cousin Zhao Pan’er? Pan’er: It’s me, all right. Zhou: If you please, Cousin, stay for some tea with us. Pan’er: You want me to stay? Even if I were starving, even if I were down to my last grain . . . I am not going to look for the lunar eclipse53 in the basement—spare me this meal! Zhou: I’d like to have Cousin vouch for our marriage. Pan’er: You want me to vouch for whom? Zhou: Song Yinzhang. Pan’er: What do you want me to vouch Song Yinzhang for? For her talent at sewing and cooking, embroidering and cleaning, tailoring jobs big and small, or is it for bearing you a son or daughter?

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Zhou: What a sharp-tongued shrew! The marriage is already a done deal. I don’t need any favors from you. Pan’er: Then I’d better leave. (She goes outside; An Xiushi rushes forward.) An: Big Sister, any success talking to Yinzhang? Pan’er: It’s too late to help. An: In that case, I’d better go to the capital and take the civil service examination. Pan’er: Don’t go yet. I’ll think of some way you can be useful. An: Whatever you say, Big Sister. I’ll stay put in my hostel and wait for your orders. (Exits.) Pan’er (sings:) [Coda] This slip of a girl is a beguiling witch with foxy tricks, A heaven-sent demon that will ensnare her men. If she asks you to guess, don’t say that she has legs under those trousers.54 She may spit blood, But you have to take it for betel juice.55 Don’t pay attention to idle words. He who comes too easy Is for her an eyesore. The only thing is to be near and dear, Then you’ll keep your score. (Speaks:) Hope she comes to her senses quickly. (Sings:) Ai, you amorous scholar,56 Prepare your offer of gold crown and bridal cape: (Speaks:) You think you have won a wife. (Sings:) But for three thousand tea certificates, She has married a Feng Kui.57 (Exits.) Zhou: I bid good-bye to Mother and help my bride into the sedan chair—and off to my hometown Zhengzhou we go. (Exits with Song Yinzhang.)58

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Zhou She (enters:) This is Zhou She. I’ve been riding horses all my life; who’d have thought I’d fall off a donkey. In order to marry this wench, I practically talked my tongue off. Today is an auspicious day.59 I got her to go first in the sedan chair and I followed on horseback, and we left Bianliang to come to Zhengzhou. I let the sedan chair go ahead of me, afraid that the neighborhood gang would laugh at me for marrying a singsong girl. Suddenly I noticed the sedan chair rocking back and forth. I galloped, caught up with them, and gave the chair bearers several whacks of the

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whip and yelled, “What kind of tricks are you playing on me?” I raised my whip and was about to thrash them: “Why can’t you carry the sedan chair the way you should instead of rocking back and forth like this?” The bearers answered, “It’s not our fault. We don’t know what the mistress is doing inside.” So I lifted the curtain of the sedan and there she was, stark naked, turning somersaults. After we arrived home, I told her to sew up a quilt for me. When I went in the bedroom, all I saw was a huge quilt stretched higher than the bedposts. I called to the woman to find out where she was. I heard a voice coming from inside the quilt, answering, “Zhou She, I’m in here.” I said, “What are you doing inside the quilt?” She said, “I was filling the quilt with cotton but got myself all rolled up inside.” I picked up a stick and was going to give her a good thrashing when the voice cried out, “You can beat me all you want but look out you don’t hit our neighbor Granny Wang.” “Good show!” I said, “You even got a neighbor rolled inside the quilt.” A belt fell off my coat, and I asked her to sew it back. She said, “I did it.” I asked, “Where?” She said, “I sewed it nice and tight.” I looked all over the coat and it wasn’t there. Where did it go? I looked into the mirror and saw that she had sewn the belt on the shoulder!60 What a dreadful life! What a miserable woman! Still, I might beat my women to death but would never buy or sell divorces.61 I’m going out for a drink. Wait till I come back, I’ll take my time and give you a good drubbing. (Exits.) Song Yinzhang (enters:) “If you don’t listen to good advice, you’re sure to pay a handsome price.” To think that at first Sister Zhao tried to talk me out of this marriage and I wouldn’t listen. Sure enough, no sooner had I set foot in this house than I was given fifty strokes of the cane for starters.62 I know our next-door neighbor Peddler Wang is going to Bianliang on business. I have written a letter for him to take to my mother so she and Sister Zhao can come to my rescue. If there is any delay, it will surely be the end for me. Good heavens! He’ll do me in! (Exits.) (Mother Song enters, wailing.) Mother: Troubles and worries fill my heart. Wordless, I don’t know where to start. I am Song Yinzhang’s mother. My daughter is married to Zhou She, and yesterday she sent me a letter by Peddler Wang. She wrote, “. . . as soon as I set foot in his house, I was dealt fifty strokes of the cane for starters, and now it is beatings and cursing mornings and nights. I am just about beaten to death. Hurry and appeal to Sister Zhao for help.” I’ll take this letter to Sister Zhao and ask her what we can do to save my daughter. Oh, Yinzhang my child, this is breaking my heart! (Exits.) (Zhao Pan’er enters.) Pan’er: This is Zhao Pan’er. I don’t know how much longer I have to earn my living in this manner. I too want to look for a fresh start; I wonder whether good news awaits?63 (Sings:) [Shang mode: Gathering Fine Guests] I collect my thoughts and think of marrying, And it soon sets tongues awagging.64

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But all I hear is so-and-so’s raised loans perforce, and so-and-so’s bought her divorce. They try to flatter the ones to whom a grand home belongs, All ready to give up their halls of dance and songs. Wild-eyed, each and every one, like fish escaping the net, Mouth pursed, each and every one, like birds over lost eggs fret. The truth is, no wayside willow can take root in the royal garden, No proper home will prostitutes and actresses like us pardon. These foolish girls at first play it for real, But in the end cannot to reason appeal.65 [ Joy of Freedom] Which one among them did not marry by making do? Which one did not miss a future instant and true? Which one did not all too easily bid him adieu? One by one they float away like bubbles on water. Never again to see Pa and Ma, as if they were sworn enemies: a woeful loss! Just like the sun and the moon, the shen and chen asterisms whose paths never cross.66 They walk right into the clever traps set by men: Heroic loyalty with no limits, That which boundless love elicits, Can now be erased with a stroke of the brush. (Speaks:) Let me see who’s coming.67 (Mother Song enters.) Mother: I am already here. I’ll just go in. (They greet each other.) Oh, Big Sister, I’m worried to death! Pan’er: Auntie, why are you sobbing and crying like this? Mother: Let me tell you all about it. Yinzhang didn’t listen to your advice but went ahead and married Zhou She. No sooner had she stepped inside his door than she was given fifty strokes for starters. Now she’s being beaten almost to death; she’ll be gone any day. Big Sister, what can we do? Pan’er: Aiya! Yinzhang suffers beatings by that man! (Sings:) [Scent of Golden Chrysanthemums] Back then they secretly wedded, and now they are to enmity headed.68 All my dire words of warning to you have today come true. You said you’re set on going, and off you went. With a love match like this, passion will be spent.69 Just like that: tenderness seems to conjugal bliss cement. [Vinegar Gourd] So you tidied the bridal chamber for union as lasting as heaven and earth, Rubbing shoulders, holding hands, for all it’s worth.70

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But once you entered his door, you knew you were doomed. Time and again I wanted to steer clear, trying to wash my hands of the whole affair. (Speaks:) But, Zhao Pan’er, (sings:) If you watch a sister drown and not lift a finger all the same, You’ll be put to shame before the Brothers of Peach Garden fame.71 (Speaks:) If you knew it would be as bad as all this, what made you consent to the marriage? Mother: You know, Big Sister, Zhou She gave his vow. Pan’er (sings:) [Vinegar Gourd] Which one of them doesn’t pathetically vow to die ghastly deaths should he break his pledge? Which one of them doesn’t foolishly draw the short straw, refusing her bets to hedge? You are both, mother and daughter, all too square and credulous, And he was just like any other womanizing playboy with sweet talk perilous. (Speaks:) Auntie, Zhou She is not the only one who tells lies. (Sings:) Which one of them does not hotly all manners of vows swear? But all pledges vanish by our ears in thin autumn air. Mother: Big Sister, what can we do to rescue my daughter Yinzhang? Pan’er: Auntie, I have two silver ingots stashed away as a nest egg. Let’s take them and buy a divorce from Zhou She. Mother: He said, “I might beat my women to death but would never buy or sell divorces.” Pan’er (ponders, then whispers into the old woman’s ear:) This is the only way. Mother: Do you think it will work? Pan’er: It will be fine. Let me see the letter. (Mother Song hands over the letter.) Pan’er (reads:) “Yinzhang bows to Big Sister and Mama: Since we parted, it was exactly as you said.72 I didn’t listen to good advice and I am now paying the price. As soon as I came into this house, I was given fifty strokes of the cane to keep me in my place. Now it’s beating by day and cursing by night, more than I can endure. If you come quickly enough, you can still get to see me, but if you are late I’m a goner. With this I bow to you.” Oh, my sister, whatever made you get into this mess in the first place? (Sings:) [Vinegar Gourd] I think of the old days when every care we shared, And in sorrow together we wallowed. He said that sooner or later you’d die and lie buried in a deserted grave, Ending up as a hungry ghost that offerings from mean streets would crave.73 And you said that after you die— (Speaks:)

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Dear sister, didn’t you say: “Big Sis this and Big Sis that, pretty soon I’ll grow a big cyst. It will be better if I get married and become a Mrs. Zhang or Mrs. Li, (sings:) I will as wife have a respectable name, And even as ghost I’d be proud all the same”? (Speaks:) Auntie, is the bearer of the letter gone? Mother: Not yet. Pan’er: I will write a reply for him to take to Yinzhang. (She writes.) Pan’er (sings:) [Flowers in the Rear Courtyard] I personally put brush to paper and write our bonding theme, Telling her not to leak the divinely clever scheme. She must be cautious and from all rashness refrain— My luckless sister whose body’s aching with pain. The letter is done. And when I get there, (sings:) I will comb my hair anew, And among silken dresses choose a few.74 Day after day, that cad never lets go;75 Where the merciless rod falls, Your glistening blood flows. Day after day you are treated like a condemned criminal. With seductive charms I will daintily tread, Filigree ornaments will adorn my head. From phoenix hairpin pearls will dangle, Prettily decked out, I will be ready to tangle.76 [Paired Wild Geese] I’ll show my painted face to save you, silly girl,77 Might as well go all the way, all my powers unfurl. Let him curse me all he wants. I don’t mean to boast, But in my tender arms he is toast! (Speaks:) Auntie, rest assured. Mother: Big Sister, be careful when you get there. (Crying) Oh, my child! I’m worried to death over you. Pan’er (sings:) [Coda: Coming from the Waves] Feel no more pain in your heart, And set all sorrows apart.78 I’ll be back for the pact, with leaves and flowers intact. Like a donkey or a dog alert, That rogue is wild when he smells a skirt. He’ll turn on all his charms and wiles trying to flirt. (Speaks:)

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After I get there, I will check him out quickly with a word or two. If he is willing to sign a divorce paper, well and good. If he balks at signing, I’ll give him a dig and a tweak, a hug and a kiss. That will make the rogue soft and weak all over. It’ll be like smearing a dab of brown sugar right under his nose—try as he might, he’ll not be able to lick it off or eat it. I will trick him into signing the divorce paper. Yinzhang gets the paper and bolts, while I simply slip out his door. (Sings:) Won’t it be sweet to end the romance, When the scoundrel to my tune shall dance? (Exits.)

ac t 3

Zhou (enters with Innkeeper:) “Everything in this world would go its way; we fuss to no purpose the livelong day.”79 Innkeeper, I hired you to run this inn not because I need the income to keep things going. Just be sure to let me know when any nice dames of pleasure come to spend the night.80 Innkeeper: I understand. But where in a crunch should I look for you?81 Zhou: Look for me in the cathouse. Innkeeper: If you are not at the cathouse? Zhou: Then look for me in the gambling house. Innkeeper: If you are not at the gambling house? Zhou: Then look for me in the jailhouse. (Exits.) (Clown dressed as Idle Boy enters,82 carrying luggage.) Idle Boy: “Hobnail boots and umbrella my stock in trade, I earn my living by having amorous missives relayed.”83 I am known as Idle Boy.84 I’m not good at any trade; my only job is to serve as go-between for the singsong ladies. When they have messages for customers or things to deliver here and there, they always call on me. Take Sister Zhao Pan’er here—she has asked me to pack two trunks of clothing and things to go to Zhengzhou with her. Now everything is packed, ready to go. Would Big Sister please mount the horse? Pan’er: Idle Boy, take a look at me all dolled up. Do you think I can turn the guy’s head? (Idle Boy feigns falling down.) Pan’er. What are you trying to do? Boy: Never mind about that guy, right now you’re even turning me on. Pan’er (sings:) [Zhenggong mode: Proper Decorum] It’s all because the girl’s plunged in sorrow, Sick at heart, Having no way to go forth or depart. Not considering the odds,

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That wench acted on the impulse of the moment, And so I am forced to do battle with this lustful opponent. [Rolling Silken Ball] Gently my breaths I will render To convey a message tender.85 How could this ass not desert his stable to follow me,86 Be he the nonpareil man in the realm for all to see! To think that she was so easily moved, How her eagerness she proved! More than once I have wanted to stay removed. But first, I sympathize with her mother all helpless; Second, used to being on the road, I pity the traveler reckless; And third, as one fond of the cup, I feel sorry for the drinker zealous. But when I get there, Oh! My wit I will ply—I cannot afford to be careless. (Speaks:) Here we are already arrived at Zhengzhou.87 Idle Boy, take care of the horse. Let us take a rest in the shade of the willow tree. Boy: Yes ma’am. Pan’er: Idle Boy, let’s have some idle chat. You know, women from good families have good manners while those from houses of ill repute behave disreputably. Boy: Tell me more, Big Sister. Pan’er (sings:) [If a Scholar] A titled lady is a titled lady for always,88 A singsong girl is a singsong girl despite forays. Even if, wiggling your body, into his mansion you suddenly make your way, How can you avoid even to his servants falling prey? You’ll secretly bear the price you will have to pay. [Rolling Silken Ball] Proper ladies use the powder puff for effect even and light, While we slather on the cheap stuff with all our might. Proper ladies comb their hair slowly, piling it up in a chignon demure, While we undo the strings of chest binder for our allure As a deep mark in the chin we endure.89 Proper ladies know their place, Judgment calls they face, Such is their ladylike grace. How are they in any way like us? Just like monkeys locked in an empty room, With a thousand affectations our bodies we groom.

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On ten thousand topics we lie in good measure, Unable to leave for good the life of pleasure. Boy: Here we’ve come to an inn. Big Sister might as well stay here. Pan’er: Get me the innkeeper. (Innkeeper enters and greets her.) Pan’er: Innkeeper, would you make ready a nice, clean room so we can unpack our luggage. Then go invite Zhou She for me. Just say I have been waiting for him here a long time. Innkeeper: Yes ma’am. (He goes out and calls.) Where is the Young Master? Zhou She (enters:) What is it, innkeeper? Innkeeper: There’s a beautiful lady in my inn and she’s asking for your company. Zhou: I’ll go with you right away. (He comes to the inn and greets Zhao Pan’er.) Sure is a nice-looking dame. Pan’er: Zhou She, so you’ve come. (Sings:) [Rolling Silken Ball] That sister of mine has good judgment And is blessed with amazing fortune. She can boast of a husband handsomer than handsome, And further, he has good looks with youth in tandem! Zhou: Haven’t I seen you before somewhere? I met you at an inn—you were playing on a horizontal lute. Didn’t I give you a length of tea-brown satin? Pan’er: Boy, did you know about that? Boy. He was not the one who gave the tea-brown satin. Zhou: Ah, now I remember. Early on, when the party broke up in Hangzhou and I was rushing over to the party in Shaanxi, wasn’t it at a dinner in the inn that I treated Big Sister to a meal? Pan’er: Boy, did you see me at his dinner? Boy: I never saw anything like that. Pan’er (sings:) You’re too busy eyeing the new, Too forgetful and befuddled— Not to speak of how your dull eyes struggled. In the lingering words of the storyteller, “Once we knew each other by the Wuling Stream,90 Yet today a total stranger to you I seem.” I have pined for you in my dreams, such longing to redeem! Zhou: Now I remember. Aren’t you Zhao Pan’er? Pan’er: That’s right. Zhou: You were the one who tried to get the ear of your auntie.91 Well, well, you’re the one who wanted to break up my marriage. Innkeeper, shut the door and give this little fellow a beating.

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Boy: Don’t you hit me! My lady here has come with trunk loads of silk dresses and a whole trousseau, just so that she can marry you, and you turn around and beat me? Pan’er: Zhou She, sit down and listen to me. When you were in the southern capital everybody was talking about Zhou She, and I heard so much about you. I didn’t have the chance to meet you then. Later, after I did see you, I couldn’t eat or drink. And then I heard you’re going to marry Song Yinzhang. I wanted to marry you, and instead you expected me to vouch for your wedding with another. (Sings:) [If a Scholar] At first I put on airs92 and pretended to oversee your marriage. But aflame with jealousy, I tried your union to disparage. For all your outward smartness, you’re a bumpkin inside. But if today the knot is tied, I’ll everything abide. (Speaks:) Here I’ve come with all good intentions, bringing horse and cart and a dowry. Instead of appreciating this, you started cursing and beating us. Idle Boy, turn back the cart. Let us go home. Zhou: If I’d known you’d come to marry me, why would I dare to beat up your little brother? Pan’er: You really didn’t know? In that case, don’t go out this door but sit right down and keep me company. Zhou: Never mind a day or two, even if it were for a year or two, your darling will gladly sit away. (Song Yinzhang enters.) Yinzhang: Zhou She has not been home for two or three days. I’ve been looking all over for him till I came to this inn. Let me take a look. So it’s Zhao Pan’er sitting with the Young Master. You shameless old whore, coming all the way here to steal my husband! You, Zhou She, just you wait—when you get back, I’ll take a knife, you’ll take a knife, and we’ll have it out between us. (Exits.) Zhou (grabbing a stick:) Why should I rush things with you!93 If it weren’t for the lady here, I’d beat you to death. Pan’er (sings:) [Taking Off the Plain Robe] To not let him off easy is my game. But why can’t I my clear intent proclaim? It’s because I can endure it all in truth and in name.94 Can you bear to really give her a round of beating?95 [Little Liangzhou] Isn’t it said one night of conjugal love begets a hundred of bond? You’d better not with rage and indignation respond. When in a mood for rough play, rough it out behind my back. With me around you’d better try another track. What fond lover will beat such a fine specimen to death?96

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[Same tune as above] Look at his ruthless face, and his hand is pressing a fearsome stick. Even a husband most provoked should not be up to your trick. (Speaks:) You carry such a big stick. What would happen if you should beat her to death? Zhou: There’s no law that says a husband who kills his wife must pay with his life. Pan’er. If you talk like that, who will dare marry you? (Aside, sings:) I’ll make a show of being willing, And with fakery filling, I’ll fix it so that when all’s done, there’s nowhere he can run. Oh, my sister! See how I use seductive wiles to rescue a seduced sister! (Speaks:) Zhou She, you have some fine tricks! You sat here with me but sent for your wife to come and revile me. Idle Boy, turn the cart around. We’re going home. Zhou: Dear Sister, please sit down. I swear I didn’t know she was coming. If I knew, may I be struck dead! Pan’er: You really didn’t bid her come? That wench Song Yinzhang is up to no good. Hit the ball quick—if you can give up Song Yinzhang, I’ll marry you without further ado. Zhou: As soon as I go home I’ll divorce her. (Aside:) Wait a minute. That woman has taken so much beating at my hand, if I’d give her a divorce paper she would be gone. Now suppose this woman here then refuses to marry me, wouldn’t I be losing at both ends? Better not take a chance but secure this dame first. (To Pan’er:) Sister, excuse me for having such unworthy thoughts in my mind. Suppose I go home and divorce my wife, and then you, Sister, give me the brush-off97 and won’t marry me. Wouldn’t I be losing both ends of the bargain? Sister, you must give me your pledge. Pan’er: You really want me to swear? All right, if I don’t marry you after you’ve divorced your wife, may I be trampled to death by a horse inside the bath hall and may my legs be crushed by a lamp wick. Now you have forced me to swear this terrible oath! Zhou: Innkeeper, bring some wine. Pan’er: No need to buy wine, I have ten bottles in my cart. Zhou: We also want a lamb. Pan’er: No need to buy lamb. I have a cooked lamb right there in my cart. Zhou: All right, all right. Let me at least go buy red silk for our wedding bed. Pan’er: No need to buy red silk either. I have a pair of bright-red silk beddings in my trunk. Zhou She, what are you so excited about? From now on, what’s yours is mine and what’s mine is yours. (Sings:) [Coda]98 What’s not to be in the end will not be. What’s meant to be dear will dearness see. For all my flowerlike body

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And tender years, fresh as bamboo shoot— Just so that a brilliant future would bear fruit, I don’t mind a reverse payment of a hundred thousand to boot.99 I will brave the risk and test the odds100 And will leave the number of wives to the gods. The countless hardships I suffer, And all the insolence I endure Won’t be for naught if you as husband I secure. [Coda]101 When you are poor, I’ll gladly suffer with you privations and want; When you are rich, don’t laugh at me if I set tongues wagging with my pomp and romp. Just make up your mind: Divorce the one in your house you find.102 Without costing you a penny, You will get this one along with ingots many. What I possess in worldly goods goes to your kin, And all my fine horses and furs are yours to spin. These I bring to you as dowry, our new life to begin. (Speaks:) If I marry you, you’ll find me different from Song Yinzhang, who knows nothing about sewing and cooking, embroidering and tailoring, and keeping a nice and tidy home. (Sings:) For the divorce paper you will have written, I will be the proper compensation given. (Exit together.)

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Song Yinzhang (enters:) It’s about time Zhou She came home. (Zhou She enters and greets Song Yinzhang.) Yinzhang: Young Master, what will you have for dinner? Zhou (angrily:) A fine thing! Get me brush and paper. Let me write a divorce paper for you. You can get out of here, quick. Yinzhang (takes the paper but does not leave:) What did I do wrong that you should divorce me? Zhou: So you are still here. Get out, quick! Yinzhang: You are really divorcing me! (Goes out the door.) Now I am out of this door!103 Zhou She, what a fool you are! Sister Zhao Pan’er, how clever you are! I’ll go with this divorce paper straight to the inn to look for my big sister. (Exits.) Zhou: I’ll go to the inn and take that woman as wife.104 (Exits.)

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Innkeeper: It’s been a while since Zhou She came here. Zhou She (enters:) Innkeeper, where is the woman who was here a while ago? Innkeeper: As soon as you left, she got on her horse and took off. Zhou: So she tricked me! Get me a horse. I’ll go after her. Innkeeper: The horse is giving birth to a foal. Zhou: Mount me a mule. Innkeeper: The mule is down with hoof disease. Zhou: Then I’ll go after her on foot. Innkeeper: I’ll go with you. (Exit together.) (Zhao Pan’er enters with Mother Song and Song Yinzhang.) Yinzhang: If it weren’t for Big Sister, how could I have gotten out that door? Pan’er: Let’s go, let’s go! (Sings:) [Shuangdiao mode: Song of New Water] I smile to think how predictably he wrote up the divorce paper Only to end up wondering where his fickle old friend had gone. He was proud of his prowess with women and his devious tips, But he succumbed to the endless words from my invincible lips.105 (Speaks:) Yinzhang, if you are to marry again, I will give this divorce paper back to Zhou She. Bring the divorce paper—let me take a look. If you want to marry again, just ask me.106 Zhou She (catches up with them:) Song Yinzhang, you are my wife! Yinzhang: You gave me a divorce paper and you drove me out of your house. Zhou: A divorce paper needs to have five fingerprints. How can it be any good with only four fingerprints? (Song Yinzhang unrolls the paper to take a look. Zhou She snatches it from her. She refuses to yield it, and he tears it to shreds with his teeth.) Yinzhang: Big Sister, Zhou She is tearing up my divorce paper. (Zhao Pan’er tries to save it.) Zhou: You are also my wife. Pan’er: How come I am your wife? Zhou: You drank my wine. Pan’er: I brought ten bottles of fine wine in my cart. How could it be yours? Zhou: You’ve accepted my lamb. Pan’er: I had my own cooked lamb. How could it be yours? Zhou: You took my red betrothal silk. Pan’er: I brought my own bright-red silk bedding. How could it be yours? (Sings:) [Fake Cards] Wine and lamb were things on my cart. Crimson-red silk I brought from the start. None but lust and greed fill your twisted mind— You thought you could get it cheap, whatever you find.

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Zhou: You swore to high heaven you would marry me. Pan’er (sings:) [Celebrating the Eastern Plain] So I was selling lies, But with false oaths the dead will rise. My only fear is that you wouldn’t believe it. Courting any girl in all these houses of pleasure, Is there one who doesn’t vow that the whole family could die for a lie? These vows are endlessly repeated for the gods on high, But retribution is never nigh. If all goes according to vows, Then complete annihilation it allows! (Speaks:) All right, Sister Yinzhang, you go back to him. Yinzhang (frightened:) Big Sister, if I go with him, it means death for sure. Pan’er (sings:) [Falling Plum Blossoms in the Wind] You deserve it for follies without end, For the clear reasoning you offend. Zhou: The divorce paper has been destroyed. You have no choice but to go back with me. (Song Yinzhang is more frightened still.) Pan’er: Sister, don’t you be afraid. The divorce paper he bit to pieces was a fake. (Sings:) I made a copy of the divorce paper for your special consideration; Here I have the original paper with the real configuration. (Zhou She tries to wrest the paper away from her.) Pan’er (sings:) A team of nine oxen can’t drag it from me, not even with desperation. Zhou (wrestling with the two women, speaks:) There’s a clear statutory law about all this. I’ll take you to a court of law. (Exit together.) Prefect (enters with Zhang Qian:) My virtue and fame unto the Nine Gates are known.107 Where I preside, families leave doors open at night. After the rain, fields are plowed and seeds are sown. No dogs bark any warning under the bright moonlight. This humble official is Li Gongbi, prefect of Zhengzhou. Today I am holding a morning session and shall see what cases there are to settle. Zhang Qian, summon the court to session. Zhang Qian: Yes, Your Honor! (Zhou She enters with Zhao Pan’er, Song Yinzhang, and Mother Song.) Zhou (crying out his appeal:) I have been wronged!

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Prefect: What is your complaint? Zhou: Your Honor, have pity on me. I’ve been denied my wife. Prefect: Who has denied you your wife? Zhou: It’s Zhao Pan’er. She has schemed to take my wife, Song Yinzhang, away from me. Prefect: What has the woman got to say? Pan’er (sings:) [Falling Geese] This rogue is ruthless and bold, His family is rich with gold. Devious lies he has told, Never walking the straight and narrow road. [Victory Song] Song Yinzhang was already betrothed, But by force he took her as his own. An evil lecher whose brazenness shows, Roguery and brutality are what he knows. A regular scoundrel! He respects no laws wherever he goes. As evidence is the divorce paper they signed and sealed, For law and justice to Your Honor we appeal.108 Your Honor, Song Yinzhang has a husband, but Zhou She took her as his own by force. Further, he already gave us the divorce paper yesterday. Prefect: Who’s her husband? Pan’er: It’s Scholar An. Prefect: She already has a husband. How can you defy reason and claim her as your wife? I know all about this. Were I not to take your father into consideration, I would have your offense brought to the attention of the proper office. All of you, listen to my judgment: Zhou She is to be given sixty strokes of the cane; he is to serve in conscript labor with commoners.109 Song Yinzhang is to be restored to the scholar An as wife. Zhao Pan’er and the rest of you are to return to normal life in your respective homes. Even though the old bawd was greedy for money,110 A good thing Zhao Pan’er told the whole story. The fool Zhou She does not know his place. Scholar An and his bride are reunited by heaven’s grace. Pan’er (sings:) [Coda] To His Honor I recount all the folly and pain, And the abused wife is allowed to leave her brutish swain.

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For all her messy errors, speak no more of that union. By moonlight and breeze, lovebirds must sing again.

Topic: Consider the Power of Guanyin; It May Yet Be Applied to One’s Own Person Title: Using Lies and False Smiles, with Seductive Wiles She Rescues a Seduced Courtesan111

n ot es 1. For Jia Zhongming’s song lyric on Guan Hanqing, see Zhong Sicheng, Lugui bu sanzhong, 131. For Guan Hanqing’s role as actor, see Zang Maoxun’s second preface to Anthology, Zang Maoxun, YQX, 1:11. 2. The best edition is Huijiao xiangzhu Guan Hanqing ji, on which this translation is based. 3. Sieber, Theaters of Desire. 4. See Wang Guowei, Song Yuan xiqu shi, 102. 5. Dou E’s rancor and vehemence are toned down in Anthology; see West, “Study in Appropriation.” 6. According to Zhang Weijuan, courtesans appear in twenty plays and have significant roles in thirteen (Yuan zaju zuojia de nüxing yishi, 195). 7. Guan Hanqing, Huijiao xiangzhu Guan Hanqing ji, 1155. We follow the annotations in reading bi 比 as wei 為. 8. On how the play thus redefines virtue and vice, see Sieber, “Comic Virtue.” 9. The name Zhou She (she is short for sheren 舍人) means “Young Master Zhou.” Sheren was applied to scions of official or aristocratic families during the Song and Yuan dynasties. 10. According to Tao Zongyi, courtesans and prostitutes were called flower ladies (huaniang 花娘) (Chuo geng lu 14.174–75). The “Flower Star” (huaxing 花星) oversees amorous adventures, especially dalliances in the pleasure quarters. 11. Bianliang, also called Bianjing (modern-day Kaifeng), was the capital during the Northern Song. After Wanyan Liang (r. 1150–1161) moved the Jurchen capital to Zhongdu (modern-day Beijing), Bianjing came to be designated as the southern capital, which is how Zhao Pan’er refers to Bianjing in act 3. 12. The original has “trading” (maimai 買賣), a somewhat incongruous reference, considering Zhou is the son of an official. 13. These lines are not in Anthology. They are often recited by older characters in Yuan plays. 14. Anthology: “But I am fobbing him off with lies and excuses: how can I give my consent? Yinzhang, about your marrying this Zhou She, I don’t want to keep obstructing, I’m only afraid you will suffer in the end.” 15. “Sisters and brothers” in this case refer to the bawds, courtesans, and musicians in the pleasure quarters. 16. Instead of this line, Anthology has jointly declaimed lines in rhyme: “Zhou: For years I’ve labored with might and main, / Only today have I managed her hand to attain. / Yinzhang: All unions are made in heaven and destiny-led. / Mother: But still stormy weather may lie ahead.”

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17. According to legend, the poet-statesman Qu Yuan drowned himself in the Miluo River when the Chu king did not heed his remonstrance; see chap. 2, this volume, n. 53. Yan Hui, Confucius’s disciple, lived in extreme poverty and led an exemplary life. Anthology has a different verse: “Liu Fen failed the exam to his everlasting sorrow; / Fan Dan kept faith and would rather beg and borrow. / If heaven has a mind to order things aright, / It surely can make a student’s future bright.” Liu Fen 劉蕡 (d. 838) was a Tang scholar who, in his examination essay, urged the emperor to kill overreaching eunuchs (Ouyang Xiu et al., Xin Tangshu 178.5293–5307). As a result, he did not pass the examination. He came to symbolize worthy scholars who, despite their merit, do not pass the imperial exams. The Han scholar Fan Dan 范 丹, or Fan Ran 范冉 (b. 112), declined official appointments, preferring to remain a poor fortune-teller (Fan Ye, Hou Hanshu 81.2688–90). 18. An’s image is improved in Anthology: “I have since childhood devoted myself to Confucian teachings, and my scholarly accomplishment is complete with learning aplenty. It’s just that I have never managed to overcome my weakness for wine and women.” 19. Anthology: “Why wouldn’t it work?” 20. The version in Anthology does not have this line. 21. That is, when the time comes for a courtesan to end her life in the gay quarters and to find a home. 22. Anthology: “It’s all because he values her for the charm of her romantic élan.” 23. What is translated as “head over heels” is literally “feet tapping the back of the head,” summoning the image of one running so fast that his upward-swinging feet touch his backward-tilting head. 24. Anthology: “Heaven’s justice is hard to cheat.” 25. In a story from the Sequel to the Record of Mysteries and Strange Events (Xu Xuanguai lu 續玄怪錄) by Li Fuyan (ninth century), Du Wei meets an old man sitting under the moon leafing through a book recording the names of men and women destined to wed. Told that he is destined to marry a vegetable hawker’s daughter (then still a child), Du attempts to murder her but after many twists of fate ends up marrying her (Taiping guangji 159.1143). The “matrimonial registry” is thus something one cannot control. 26. Anthology: “an ideal mate.” 27. Anthology: “They all choose over and over a hundred times.” 28. Anthology: “Much to bear, hard to tell, / To whom appeal? / Your tears are in vain.” 29. Anthology: “I have seen manly men with hearts of iron.” 30. The swear word that Pan’er uses here is tui 頹, a loan word for diao 屌 (the male sexual organ). 31. The expression “the three compliances” refers to the precept that a woman should obey her father before marriage, her husband after marriage, and her son after her husband’s death (Yili zhushu 30.359). “The four virtues” designate a woman’s propriety in virtue (fude 婦德), words (fuyan 婦言), appearance (furong 婦容), and work (fugong 婦功) (Zhouli zhushu 7.116). 32. Pan’er deliberately uses the derogatory term feiji 匪妓 (“wicked harlots”). 33. Anthology: “I am not one selling sour pears,” that is, I am not like the vendor who pretends that sour pears are sweet. 34. Anthology: “But he flaunts calculations at chisel’s tip and knife’s edge.” See Zuozhuan (Zhao 6.3): “Even at chisel’s tip and knife’s edge they will contend.” The original context is how people would argue about the fine points of the law. As Yang Bojun points out, these tools are the ones used to inscribe the characters of the penal code in the mold before casting (Yang, 1276). The phrase “knife and chisel” comes to mean small gains that people fight over. 35. This last line is not in Anthology. 36. Anthology: “. . . and we do not ask him for money.” 37. Anthology: “As soon as they see we fall short, / They will say these dames set out to extort.”

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38. Anthology: “Those running a household get pointless squabbles.” 39. The text has “sheep-lamb interest” (yanggao li 羊羔利), a form of usury whereby a loan begets another loan, just like a sheep begets a lamb. 40. Anthology: “Those who marry simply fall into a trap,” or, literally, falls victim to the enemy’s “strategy of dragging the sword”; See chap. 4, this volume, n. 62. 41. A Yuan idiom referring to how a person is going the wrong way, heedless of other examples and warnings. 42. These lines, which contain somewhat obscure Yuan vernacular, are not included in Anthology. 43. On the beggar’s ditty “Lotus Blossoms Falling,” see chap. 5, this volume, nn. 43, 90. 44. Literally, “Big Sis this, and Big Sis that—pretty soon some awful puss will fester.” The Chinese term for “Big Sis” (dajie 大姐) is homophonous with that for “Big Sore” (dajie 大癤). 45. Lunyu zhushu 5.20: “Ji Wenzi thinks thrice before he acts. The Master says, ‘Thinking twice is enough.’ ” 46. On the term “bronze dipper,” see chap. 5, this volume, n. 14. 47. This line is not in Anthology. 48. Literally, “the shell of a dung beetle,” whose glistening black exoskeleton hides a vile insect. 49. Anthology: “So that you’d have no fear of the piercing cold.” 50. Anthology: “Think you these profligates are honey-sweet and dear.” 51. Anthology: “With teeth baring and lips snarling.” 52. Legend has it that once upon a time a wife who longed for the return of her long-absent husband kept a daily watch atop a mountain. She was so rooted to her post that in time she turned into stone. Such stone configurations can be found in many parts of China. 53. The word for “eclipse” (shi 蝕) is a homophone for “food” or “eat” (shi 食). 54. That is, she lies even about the most obvious truth (such as having legs under her trousers). 55. She is so cunning that she can never be trusted. 56. Literally, Shuang Lang 雙郎 or Shuang Jian 雙漸, a scholar who is the protagonist of a love story with a courtesan; he becomes the byword for amorous scholars in Yuan drama. 57. In Yuan times, tea merchants, upon payment to the government of the assessed taxes, were awarded trading licenses known as tea certificates (chayin 茶引). On the tea monopoly, see, this volume, chap. 4, n. 46, chap. 5, n. 47. Feng Kui 馮魁 is one such merchant in a story involving a courtesan whom he takes as a concubine against her will, while her true love, the aforementioned Shuang Jian, is away pursuing an official career. In the end, by sheer chance, the lovers are reunited. 58. Act 1 in Anthology ends with the following verse: “Zhou: Barely stepping out from the brothel gate, / She’s already a wife of good family. / Yinzhang: I only fear I’ll be abused by my mate, / And will yearn to return to my former state.” 59. This line is not in Anthology. 60. This incident is omitted in Anthology. Instead, there is the following exchange: “Yinzhang: I did no such thing. Zhou: More things like this happened than I could tell.” 61. In Yuan China, a woman could pay her husband a certain sum of money to “buy a divorce” (maixiu 買休), or a man could “sell a divorce” (maixiu 賣休) by selling his wife to someone else and getting paid. 62. The following lines are found only in Anthology: “Now it is beatings in the morning and cursing in the evening. If this keeps up, I’ll die in his hands for sure.” 63. This line is not included in Anthology. 64. Anthology: “These last few years I’ve had a mind to get married.” 65. Anthology: “But in the end find that it’s a trail of no return.”

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66. The shen 申 and chen 辰 asterisms never cross paths. The shen rises at the mao 卯 hours (5:00 a.m.–7:00 a.m.), and the chen rises at the you 酉 hours (5:00 p.m.–7:00p.m.). 67. This line is not in Anthology. 68. Anthology: “Just think: the day they secretly wedded, I feared they would not get along.” 69. Anthology: “He was always the number one cad.” 70. Anthology: “So you tidied up your chamber and conjugal bed, / Hoping for bliss lasting as long as heaven and earth.” 71. More literally, “You will be put to shame by those who slaughtered the white horse and the black bull [as sacrifice to seal the pact in the Peach Garden].” Brothers of Peach Garden fame refer to the three heroes of The Romance of the Three Kingdoms—Liu Bei 劉備, Guan Yu 關羽, and Zhang Fei 張飛— who made a pact in a peach garden pledging common cause and fraternal devotion. As noted in the introduction, Guan Hanqing also wrote plays about the heroes of the Three Kingdoms. 72. These lines do not appear in Anthology. 73. It is possible to read this as Song Yinzhang imagining her sad fate: If she does not get married, she will not belong to a family and will be denied sacrifices after her death. We have chosen to read this as Zhou speaking. 74. Anthology: “For no good reason, you fall victim to his vile blows.” 75. This line does not appear in Anthology. 76. The last four lines are different in Anthology: “You may just lose your life to this! / What’s more, so far from home in Zhengzhou, / Who is there to look after you? / Utterly shamed—and for what?” Zang Maoxun might have found the switch of focus from Song Yinzhang to Zhao Pan’er too jarring, hence the change. Anthology includes an additional exchange: “Mother (crying:) Oh, my daughter! How can she stand this anymore? Pan’er: Don’t worry, Auntie.” It also adds the following aria to the tune “Willow Leaves”: “I wonder how on earth you can endure. / I might as well a solution to the puzzle procure. / First, coif my hair in chignons like floating clouds and cicada wings. (Speaks:) Then put on some clothes of embroidered silk. (Sings:) With coral hooks, / And lotus blossom buckles. / Body swaying, I will display all my charms.” 77. “Silly girl” is literally “spring cow,” the cow used in spring agrarian sacrifice. Anthology has “the female skeleton” (nü kulou 女骷髏). 78. Anthology: “And ease your furrowed brow.” 79. In Anthology this is a verse that concludes with the following lines: “It’s nothing but women and wine— / They are forever my heart’s dismay.” 80. Anthology: “be they licensed or private.” 81. Anthology: “Only you are so footloose, where in a crunch should I look for you?” 82. The name Idle Boy (Xiaoxian 小閑) could have been derived from the slang phrase Pan lu Deng xiao xian 潘驢鄧小閑, used by the procuress in the novels Water Margin and Jin Ping Mei to indicate five male attributes effective in seducing women. The character for Pan, 潘, stands for the poet Pan Yue 潘 岳 (247–300) (also known as Pan An 潘安), remembered for being exceedingly handsome; lu 驢 refers to a donkey and its oversize organ; Deng 鄧 relates to the Han official Deng Tong 鄧通 (second century b.c.e.) who minted coins and was fabulously wealthy; xiao 小, or xiaoxin 小心, means attentiveness to small things to make a woman happy; xian 閑 denotes a person with time on his hands to please the lady. Xiao 小 being also a common prefix in the nicknames of young servants, the playwright could be punning on the last two characters of this ribald phrase when he named an errand boy in the brothels Xiaoxian 小閑. Alternatively, Xiaoxian could be short for xiao bangxian 小幫閒 (little hanger-on). 83. In Anthology this is a verse that concludes with the following lines: “None but idle people can afford to be idle; / Soon as I idle around, I am again on the go.”

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84. In Anthology his name is Idle Boy Zhang (Zhang Xiaoxian). 85. The phrase xingyin 姓因 may be loan words for “message” (xinyin 信音) (Gu Xuejie, Yuanren zaju xuan, 70). It may also be a pun on the word for “feelings” (qing 情) (Zang Maoxun, YQX, 2:666). 86. The phrase beicao paofen 背槽拋糞 means, literally, “turn its back on the trough and shit.” The image of an animal turning against the one who feeds it and defecating conveys the idea of betrayal. Here it means that Pan’er will be able to seduce Zhou so that he will abandon Yinzhang. 87. Anthology: “Even as I am talking, here we are already arrived at Zhengzhou.” 88. Wives of officials received official recognition (fengzeng 封贈) according to their husband’s rank. 89. Panxiong 襻胸 is an item of clothing for the front of the body; it is tied with strings around the neck and at the back. Commentators find it hard to connect this to the way a courtesan brushes her hair; but it may simply mean that while a proper lady makes her chignon demurely attractive, a courtesan undresses to display her allure. The “deep mark” may just refer to how tightly a courtesan ties her chest binder. 90. “Wuling Stream” (Wuling xi 武陵溪) is a common trope referring to “encounter with the goddess” or “amorous encounter.” According to a story in Youming lu (Liu Yiqing [403–444]), Liu Chen 劉晨 and Ruan Zhao 阮肇 encounter goddesses on Tiantai Mountain and dally there, only to return home and find that generations had elapsed (Wang Genlin, Han Wei Liuchao biji xiaoshuo daguan, 697–98). 91. Anthology: “So you are Zhao Pan’er. Good! Good!” 92. Yida 倚大 means, literally, “to use my seniority”—that is, Zhao Pan’er claims to have authority as Song Yinzhang’s older sister. 93. Literally, “Why should I fight with you over raw food [i.e., not even wait for the food to be cooked]!” Zhou is saying, “What’s the big hurry? The time will come when I can deal with you.” 94. Literally, “I will bear with the firewood sticking under my ribs,” that is, “I will silently bear the pain myself.” Anthology: “The firewood sticking under my ribs is all securely in place.” Wen 穩, the word for “secure,” suggests ren 忍, “to bear” or “to endure.” 95. Anthology: “How do we know you can really give her a round of beating?” 96. The expression for husband here is the name Shuang Tongshu, the Shuang Lang or Shuang Jian mentioned in n. 56, this chap. “Such a fine specimen” is literally “kylin,” a mythical animal. Instead of “kylin,” Anthology has “charming lady.” 97. Literally, “shut the flesh blinds,” meaning “to close one’s eyes.” 98. Anthology: “Penultimate Coda.” 99. Anthology: “I don’t mind giving up a few silver ingots.” The expectation is, of course, for the man to pay up to buy a beautiful courtesan; Zhao’s offer to pay is highly unusual. 100. Literally, “I will brave the chance that nine in ten grains of rice turn out to be husks”—the chance that Zhou will become a good husband is minimal, but Zhao claims to embrace the risk. 101. Anthology: “Coda in Huangzhong Mode.” 102. Anthology: “the one in front of your eyes.” 103. Anthology: “Think of the time you were courting me—what did you say to me then? You heartless cad, may heaven punish you! Now you want to get rid of me, but I refuse to leave. (Zhou She pushes her out the door.)” 104. Anthology: “Now this good-for-nothing baggage is gone, I’ll go to the inn and take that woman as wife.” 105. Literally, “the nine thousand lines from the triumphant gourd”—“gourd” (hulu 葫蘆) is a byword for “mouth” in Yuan drama. 106. While in this version Zhao Pan’er seems to be warning Song Yinzhang not to marry again, in Anthology the target is Zhou She rather than the idea of marriage: “Yinzhang: Let me take a look at that divorce paper. (Yinzhang hands over the paper.) Pan’er (making a switch and handing it back:)

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Yinzhang, the next time you marry, you must produce this paper as evidence that you are free. Keep it safe. (Yinzhang receives the paper. Enter Zhou She hurrying to overtake the two women.).” The emperor’s palace is said to have nine gates (tianzi zhi men jiuchong 天子之門九重). Dialogues and arias are inserted at this juncture in Anthology: “(Enter An Xiushi.) An: Just now Zhao Pan’er sent someone with a message saying, ‘Song Yinzhang has secured a divorce paper. Hurry over to the prefect yamen with your appeal so you may marry her yourself.’ Here I’ve arrived at the gate of the yamen. Let me cry out: I’ve been wronged! Prefect: Who’s making all that ruckus outside? Bring him in. Zhang Qian (with the scholar in tow:) Here’s the plaintiff. Prefect: Who are you accusing? An: I am An Xiushi, and I was engaged to marry Song Yinzhang. But then this Zhou She from Zhengzhou came and forced her to be his wife. I beg Your Honor to uphold justice for me. Prefect: Who vouched for you at your betrothal? An: It was Zhao Pan’er. Prefect: Zhao Pan’er, you said Song Yinzhang already had a husband. Who is this man? Pan’er: None other than this scholar An. (Sings:) [Buy Good Wine] He studied to be a Confucian scholar since childhood, / And stashed away a bellyful of knowledge from the Nine Classics. / Further, he lived in the same village and neighborhood as us. / She has accepted his engagement rings and pins and other valuables; / Obviously she is the intended wife of a gentleman. Prefect: Zhao Pan’er, I ask you. Were you really the party that vouched for them at the betrothal? Pan’er: Yes, I was. (Sings:) [Victory Song] Before Your Honor is she who vouched for them at the betrothal. / We didn’t expect the rogue to barge in with his schemes. / How could it be considered a public and proper marriage? / It was an obvious blow to custom and morality. / This day we appeal to Your Venerable Honor to adjudicate the case; / For pity’s sake, let your judgment be the union of husband and wife.” In most of China’s imperial history, sons of officials were spared conscript service. Song Yinzhang’s mother obviously does not deserve this judgment, although the description befits bawds in many Yuan plays, such as Li Yaxian Amid Flowers and Wine at the Winding Stream by Shi Junbao or Du Ruiniang Shows Her Wit at Golden Thread Pond by Guan Hanqing. Such stock descriptions often found their way into these probably impromptu verses. The topic and title in Anthology are “Topic: Along Floral Lanes, Scholar An Lights Up Floral Candles. / Title: With Seductive Wiles Sister Zhao Rescues a Seduced Courtesan.”

8 Q Iu H u t r Ie s t o s educe HI s WI fe

sHI Junbao Trans laTed by Jam e s m . Ha r geTT, J oHn Colema n , Kuan- fo o K l ai, g lo ria sHen , a n d Wa n g mi n g

IntroductIon Wa I- y e e L I

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he story of Qiu Hu and his wife first appears in the entry “Chaste Woman Qiu of Lu” (Lu Qiu Jiefu 魯秋潔婦) in chapter five (“Chastity and Duty” [Jieyi 節義]) of Accounts of Notable Women (Lienü zhuan 5.104–6) compiled by Liu Xiang (ca. 77 b.c.e.– 6 b.c.e.): The chaste woman was the wife of Qiu Hu of Lu. Five days after taking her as his wife, he left to serve as an official in Chen. Five years later, he returned. Before he got home, he saw a woman picking mulberry leaves by the wayside. Entranced by her, Qiu Hu got down from his carriage and said, “The sun is burning you as you pick mulberry leaves, and I have come a long way.1 I want to take advantage of the mulberry’s shade, eat something, put down my baggage, and get some rest.” The woman continued picking mulberry leaves. Qiu Hu said, “Toiling in a field is not as good as coming upon a year of abundant harvest; toiling among mulberry trees is not as good as meeting a minister of the state. I have gold that I wish to offer to you, My Lady.” The woman replied, “Alas! I pick mulberry leaves and work hard to spin and weave so that I can provide for our food and clothing, support my parents, and serve my husband. I do not want the gold. What I want is for you to not have base motives, and for me to banish all licentious thoughts. Put away your baggage and the gold from your cache!” Qiu Hu thus left.

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When he reached home, he offered the gold to his mother and had someone send for his wife. She turned out to be the person picking mulberry leaves. Qiu Hu was ashamed. The woman said, “You tied back your hair, cultivated your person, took leave of your parents, and went off to serve in court. Returning after five years, you should be galloping in a cloud of dust, eager to see your parents as quickly as possible. But just now you were entranced by a woman on the road, put down your baggage, and offered her gold: this is to forget your mother; forgetting your mother is unfilial. To love sensual beauty and to indulge in licentiousness are to corrupt your conduct; corrupting your conduct is undutiful. He who is unfilial in serving his parents will be disloyal in serving his ruler; he who is undutiful in managing his family will ruin government affairs as an official. Having lost both filial piety and dutifulness, you will certainly not succeed. I cannot bear to see you remarry; and I too will not marry again.” She left and went east, threw herself into the river, and died. The noble man says, “The chaste woman is finely discriminating when it comes to goodness.” There is no greater violation of filial piety than not loving one’s parents and loving someone else instead: Qiu Hu is guilty of that. The noble man says, “Seeing goodness and fearful of not reaching it; seeing the negation of goodness and being vigilant as if touching boiling water.” This refers to Qiu Hu’s wife. The Classic of Poetry says, “Because he has a perverse heart, / He is singled out for censure.”2 This is what is meant.

The story of Qiu Hu and his wife has been a popular topic in poetry since the Six Dynasties.3 Some poems reiterate the stringent moral judgment in Accounts of Notable Women. Longer narrative poems tend to explore the psychological complexity of longing, infatuation, and betrayal through shifting perspectives; a notable example is Yan Yanzhi’s 顏延之 (384–456) “Song of Qiu Hu” (Qiu Hu xing 秋胡行) (Lu Qinli, Xian Qin Han Wei Jin Nanbeichao shi, 3:1228). Poets may choose to focus on one segment of this narrative; a favorite is the seduction scene, which allows elaboration of feminine charms that implicitly invites empathy with Qiu Hu’s infatuation. Many turn attention to the wife’s sense of betrayal or disappointment with love rather than Qiu Hu’s moral blemish. Thus Yuan Hongdao 袁宏道 (1568–1610) lets her declare in his “Song of Qiu Hu,” “I die for love, / Not for chastity” (qie siqing fei sijie 妾死情，非死節).4 Some blame Qiu Hu’s wife for being too severe. Fu Xuan 傅玄 (217–278) writes, “The husband is of course not worthy, / But the wife is also too harsh” (bifu ji bushu cifu yi taigang 彼夫既不淑， 此婦亦太剛) (Lu Qinli, Xian Qin Han Wei Jin Nanbeichao shi, 2:556). The scholar and historian Liu Zhiji goes even further and castigates her for being “a stubborn person fierce and dangerous, an overbearing shrew” (xiongxian zhi wanren qiangliang zhi hanfu 兇 險之頑人，強梁之悍婦 [Shitong 史通, “Pinzao” 品藻]). The early-Ming playwright Zhu Youdun, a devotee of many Yuan plays, voices a similar criticism: “That wife of his is simply too vicious” (ta na laopo ye te hendu xie 他那老婆也忒狠毒些).5 While such criticism represents the minority opinion, it draws attention to the wife’s agency and self-assertion, which are turned to comic account in Shi Junbao’s play. What nettled the

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defenders of patriarchy in premodern times is bound to delight the modern reader. In our play, Meiying (Qiu Hu’s wife) realizes a kind of “subversion from within” by playing one set of normative virtues against another: she asserts her “wifely authority” (qigang 妻綱) by insisting on filial piety, she defies her parents in the name of chastity, she rejects her husband because he fails as a son and a minister of the state. A narrative scroll preserved in the Dunhuang caves, The Transformation Text of Qiu Hu (Qiu Hu bianwen 秋胡變文, ca. tenth century) also elaborates this story, but its beginning and ending are missing. Of the extant writings on the story of Qiu Hu and his wife, Shi Junbao’s play is the first that turns it into comedy. The full title, The Lu Official Qiu Hu Tries to Seduce His Wife (Lu daifu Qiu Hu xiqi 魯大夫秋胡戲妻), draws attention to Qiu Hu’s high status and thus highlights the “class change” that heightens comic tension. An impoverished commoner hurling abuse on an official is likely to invite appreciation among the commoners in the audience. But comic reconciliation is finally achieved through negotiating the balance of power between husband and wife as well as the mediatory role of Qiu Hu’s mother. Reconciliation also requires Qiu Hu’s rehabilitation. His last aria, implying that the seduction was a ruse or a test, reestablishes his moral authority. This ultimately unconvincing twist may well be the work of a later editor. About Shi Junbao we know very little. Sun Kaidi proposed that he was a Jurchen playwright.6 The evidence is not conclusive, although one of the plays attributed to him, Love in the Purple Cloud Pavilion, does feature a young Jurchen nobleman as the love interest of the main character, a determined and long-suffering courtesan. In that play, as well as in Shi’s only other extant play, Li Yaxian Amid Flowers and Wine at the Winding Stream, the female protagonist is much stronger than her male counterpart and determines the course of events. These heroines, both courtesans, share affinities with Luo Meiying. Our play is mentioned in both The Register of Ghosts and Correct Sounds. The only preserved version is found in Anthology.7 Sometimes given the title Meeting in the Mulberry Garden (Sangyuan hui 桑園會), this story continues to be popular on stage in Beijing opera and in various regional operatic traditions. William Dolby translated this play in Eight Chinese Plays from the Thirteenth Century to the Present (1978).

QIu Hu trIes to seduce HIs WIfe D r a m at i s P e r s o n a e

Role type Older Female Male Lead Comic Second Female

Name, social role Old Woman, Mother Qiu, Qiu Hu’s mother Qiu Hu, Meiying’s husband Squire Luo, Meiying’s father Squire Luo’s Wife, Meiying’s mother

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Female Lead Matchmaker Extra Comic Musicians Attendants

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Luo Meiying, Qiu Hu’s wife Draft Officer Squire Li

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(Older Female dressed as Mother Qiu enters with Male Lead dressed as her son, Qiu Hu.) Mother Qiu (recites:) Flowers may come back in bloom, But we will not our youth resume. Speak not to me of the worth of gold— Most precious are peace and joy, when all’s told. I am the Woman Liu.8 My husband passed away sometime ago, and I have only this one child, called Qiu Hu. Now there is this daughter of Squire Luo,9 Meiying by name, who just married my son. Last night she crossed the threshold as a newly wedded wife. Today I have prepared some food and wine to welcome my new in-laws. Qiu Hu, go and invite your father- and mother-in-law to come and feast with us. Qiu Hu: They should be here any minute. (Comic enters dressed as Squire Luo with Second Female dressed as his wife.) Luo (recites:) Others’ families are happy with seven sons, But mine is blessed with just half a one.10 Luo’s Wife (recites:) Although we cannot afford any grand bridal trousseau, Still, we are invited to the third-day feast.11 Luo: I am Squire Luo, and this is my old woman. I have a daughter, Meiying by name, who just married Qiu Hu. Yesterday she crossed the threshold, and today our in-laws have invited us to a feast; we certainly should go. Well, here we are at their gate. Qiu Hu, we’re here. Qiu Hu: Mother, my father- and mother-in-law have arrived. Mother Qiu: Tell them to come in. Qiu Hu: Come in, please. (They greet one another.) Mother Qiu: Our kin by marriage, please sit down. The food and wine are ready. Qiu Hu, pour the wine. (Qiu Hu passes the wine.)

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Qiu Hu: Father-in-law, Mother-in-law, please drink up. (Luo and his wife drink the wine.) Luo and Wife: This is our daughter’s wedding feast; of course we should drink. Mother Qiu: Son, call Meiying. (Qiu Hu calls Meiying.) (Female Lead dressed as Meiying enters with the Matchmaker.) Meiying: Old Lady, why is Mother calling me?12 Matchmaker: Young lady, she’s calling you to welcome and entertain your parents. Meiying: I feel so awkward; how can I go out and face them? Matchmaker: From earliest times it’s been the proper ritual for men and women to get married. What is there to be shy about? Meiying (sings:) [Xianlü mode: Touching Up Red Lips] As boys and girls grow up Their parents guide and instruct them. When the proper time arrives, They are married. It is most important that they love and respect each other And live in harmony. Matchmaker: Young lady, I have heard others say that since childhood you have applied yourself to reading and writing, but I was never sure what you did. Could you tell me a little bit about it? Meiying (sings:) [River Churning Dragon] I have studied the Classic of Poetry: Its first poem, “The Crying Osprey,” rectifies human relationships.13 Thus, young men seek out wives, And girls are betrothed to future husbands. Lute and zither music harmonizes in the night of painted candles; The phoenix lovers are well matched in the vernal bridal chamber. Because of this, I am too languid to face the crowd; Too embarrassed to meet my parents, I now hang my blushing face demurely And can only smooth out my silken skirt. And all because we womenfolk Throughout our lives abide by the lot of the marital knot. Even though it’s said, “To marry is the fate of all,” Still I feel so very bashful. Matchmaker: Young lady, you should have chosen a rich man from the start; then you could have enjoyed fine food and pretty dresses all your life. How could you marry into the poverty-stricken Qiu family?

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Meiying: Old Lady, what kind of talk is this? (Sings:) [Oily Gourd] As for how their pots are covered with spider webs, pans with dust— That is none other than my fate. Just think: generals and ministers of old came from humble families. Now we are forced to live on leeks and salt, But it is just like the dragon that has yet to receive the beckoning of wind and thunder. You see him as a commoner in a barren house— But I contend he is a minister of the Gilded Chamber.14 When he made his marriage proposal, For me it was love at first sight. You know: there is neither rhyme nor reason For poverty and riches. Matchmaker: Young lady, Qiu Hu at present has neither money nor position. If you want to marry a rich man, it’s still not too late! Meiying (sings:) [Joy for All Under Heaven] People void of treasures in their bellies15 are destined to a life of poverty. You suggest I marry another, oh, another man— Yet I would rather suffer first from poverty! Have you ever seen a noble lady emerging fully fledged from childhood? In this whole world, there are womenfolk aplenty; Everywhere under heaven, there is no lack of talk. But who ever heard of a girl born with her husband’s title and rank? Matchmaker: Young lady, you better go out and see your parents. (Meiying goes out and bows to her mother-in-law.) Meiying: Mother, why have you summoned me? Mother Qiu: Daughter-in-law, I have called you to come out and serve some wine to your parents. Meiying: Yes, Mother. Old Lady, bring me the wine. (Meiying passes the wine to her parents.) Papa and Mama, please drink a full cup. Luo and Wife: Capital! Capital! We’ll drink up the wedding wine. Mother Qiu: Child, urge them to have some more. Ask them to take their time and drink several more cups. (Extra dressed as Draft Officer enters.) Draft Officer: My superiors have sent me here on official business, which is quite beyond my control. I am the drafting officer. I come with orders from my superiors to draft Qiu Hu into the army. Let us proceed on our way. Oh, here we are at the Lu family village already. Is Qiu Hu at home?

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(Qiu Hu meets the Draft Officer.) Draft Officer: Qui Hu, I have received orders from my superiors that you are a proper conscript,16 and I have come here to draft you. (Draft Officer begins to tie up Qiu Hu.) Qiu Hu: Officer, wait a minute please: let me tell my mother. (Qiu Hu approaches his mother.) Mother, there is a draft officer at the gate who has orders from his superiors to take me into the army. Mother Qiu: My son, what is to be done? Meiying: Old Lady, what’s all that commotion about? Matchmaker: Someone is drafting your Qiu Hu into the army! Meiying: Qiu Hu, what is to be done? (Sings:) [Welcoming the Drums in the Village] All because of one night’s affection, My bosom is now filled with grief. He will be gone, But then, for Mother-in-law and me, Who will care, who will inquire about us? I have avoided the guests. My innermost thoughts— How can they be expressed in a few words? I do not want them to see how I, for his sake, Will be enduring poverty, Wiping away tears. I must not let others say how this girl wallows in sentiment. Matchmaker: Today is just the third day after the wedding. Just as we are celebrating the wedding feast, the draft officer comes. Oh my, I haven’t received my matchmaking fee yet. Meiying (sings:) [Song of Yuanhe Reign] Keeping himself to a lonely bluish lamp, his lot was bitter; Living on yellow leeks, he suffered the trials of poverty. I had hoped that someday he would become a court minister in the Jade Hall with bronze horses at the gate.17 But it turns out this young scholar is a conscript. Scholars, I’d say, are not as good as others!18 Can it really be said that literary talent wins a place in the world! Draft Officer: Qiu Hu, hurry up. You see the date written here on the induction orders; you can’t be even one day late. Qiu Hu: Officer, please wait a moment. Meiying (sings:)

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[Beauty on Horseback] This bully is ruthless by nature, This fellow is indeed a yokel. I see this rascal, this hooligan, Meanly, viciously, brandishing his crude cudgel. That merciless wretch— He would rather beat to death an auspicious kylin!19 Mother Qiu: My son has been married for only three days. Out of the blue he is taken away to the army. Who will take care of me? How this pains me to death! Meiying (sings:) [Roaming at the Four Gates] Just a moment ago at our wedding feast, We were drinking wine and intimately conversing. But now, with sword in hand, You leave for military service. I recall it was just last night when marriage brought harmonious union.20 Scarcely were the phoenix quilts warmed, Yet today we, we see you off as you depart from the old wicker gate. [Victorious Gourd] Say no more about how entwining jade-white arms leave powdery traces! Soon you’ll be lying in armor, and scales will sprout on the ground.21 You must know that in times out of joint, the sword is mightier than the pen. When tossed human heads roll, And warm, spurting blood splatters— This is the time when you could serve your country And garner honors with merit. Qiu Hu: Meiying, I have to go now. Be sure to take good care of Mother, and be especially filial to her. Mother Qiu: My son, you have to go now, but write often and let me know how things are. Meiying (sings:) [Flowers in the Rear Courtyard] Just as we have secured the blessing of heaven and earth for our marriage,22 And have supposedly avoided separation by choosing the right day and month, We have to look ahead to your ambition of attaining honor and glory in ten years, And I am grateful for our single wedding night. Knitting my eyebrows, I reflect— Could it be that at our wedding I alighted from the carriage and offended Jupiter,23

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Or, while worshipping the ancestors, turned my back on their images? A young wife has met with a terrible fate— Now they send her mate off to the borders, Away from this village. [Willow Leaves] I can see that he has a home that bars return, The bliss of our new union is indeed over all too soon! Must I spend the rest of my life like a lonely, widowed phoenix? Haven’t you ever thought about Consulting the fortune-teller— Why didn’t he select an auspicious day for the wedding? Mother Qiu: My son, go now. Be careful on your journey. Write often so I won’t worry about you. Qiu Hu: Yes, Mother. Take good care of yourself. Meiying (sings:) [Coda] Few will be the letters the wild goose brings across the boundless sky; When compared with your whereabouts, the border region seems nigh. I must hold back my tears as I face the parting wine goblet. Gazing afar, I see the green willows, so fresh beside the roadside inn.24 You will first sojourn in a mountain village, in a riverside lodge. (Speaks:) Qiu Hu— Qiu Hu: I’m here. Meiying (sings:) I cannot help but Be concerned about his very being. (Speaks:) To think that I crossed the threshold last night, and today he is leaving for the army. (Sings:) Yet, one night as husband and wife seals a bond for all nights to come. This is the beginning: henceforth I will wear out my soul with dreaming. At this moment I can only suppress my sorrow, And with tears settle down to await the eventide. (Meiying and Matchmaker exit.) Qiu Hu: Father- and Mother-in-law, please look after my mother and wife. I am leaving for the army now. Luo and Wife: This is your family’s obligation and also our daughter’s ill fortune. You better go now. (Qiu Hu bows and bids them farewell.) Qiu Hu: Officer, I’ll go with you now. (Recites:) Lament not the unequal measures of literary talent and good fortune— Even though we have to part after three days of marriage.

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For if I put my literary talents to good use while in the army, I’ll surely distinguish myself and return home wearing brocade. (Qiu Hu and Draft Officer exit.) Luo and Wife: Qiu Hu has gone. We’ll be going now, Mother Qiu. Mother Qiu: My son has gone, so I cannot very well ask you, Mother Luo, to stay. What a poor hostess I am! (Recites:) I sincerely wanted to have my guests stay— But what else could I do now that Qiu Hu has been drafted? Luo and Wife (recite:) If he doesn’t return home by next year, Should we let our child remain a widow all her life? (Exit together.)

ac t 2

(Comic dressed as Squire Li enters.) Li (recites:) Acre by acre the fields stretch to the distant village, The masters play with monkeys in grand homes. Peasants have no choice but to work hard hoeing and tilling And drink a jar of cold, sour wine.25 I am Squire Li. I have money, grain, land, riches, and treasures—everything but a pretty and charming wife. Only this is enough to make things unpleasant for me. I am a rich landowner in the village, and all the peasants around here owe me money and grain. But people have been laughing at me because for all my wealth I don’t have a good wife. How can I put up with such insults? There is an old man in the village named Squire Luo. He was once a rich man, but now he is poor. He has borrowed some grain, which he hasn’t yet returned to me. He has a daughter named Meiying, who is very beautiful. She married Qiu Hu, but it’s been ten years since Qiu Hu left for the army. I am going to send for Squire Luo and tell him that Qiu Hu is dead and ask him to give me his daughter’s hand in marriage. If he agrees, I’ll forgive him the forty piculs of grain he owes me. What’s more, I’ll give him some more money and presents. Since the old fellow is very poor, he surely will accept my offer. I have sent someone to get him, and he should be here soon. (Squire Luo enters and recites:) People say that being summoned by the rich Is a sign of good fortune. I was once a rich man— Why am I at others’ beck and call?

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I am old Squire Luo. It’s been ten years since Qiu Hu was drafted into the army. I owe Squire Li forty piculs of grain and haven’t paid my debt yet. Today Squire Li has sent for me. This is an important matter. I’ll go and see what he has to say. Since nobody is around, I’ll go in myself. (Luo greets Li.) Luo: Squire, what can I do for you? Li: Hey, old man, I sent for you because there is something I want to talk to you about. While in the army, your son-in-law, Qiu Hu, ate some bean curd and died of diarrhea. Luo: Who said so? Li: That’s what I’ve heard people say. Luo: Ah! What are we to do! Li: Don’t worry, old fellow. Let me ask you, since your son-in-law is dead, how could your daughter, who’s still so young, remain a widow all her life? You might as well let your daughter marry again. Luo: What are you talking about? Li: If you don’t agree, I’ll take you to court for the forty piculs of grain you owe me. You’ll be hounded to death! If you give me your daughter in marriage, I’ll forget about my forty piculs of grain. What’s more, I’ll send you gifts of red silk, mutton, wine, and money. What do you think? Luo: Let me consider this carefully! Even if I were to agree, I’m afraid my wife would never go along with it. Li: No problem. Go ahead and take with you the gifts of silk and money now. The two of you can then discuss it carefully. Once she has accepted the betrothal gift of red silk, I’ll come right over with mutton and wine. Luo: Take your time. I’ll bring her the red silk first. (Luo leaves the house.) Since I’ve consented, what’s there for my wife to object to? I’ll go first to take this gift of red silk to Mother Qiu. (Exits.) Li: Since that old fellow has given in, why should I worry that his daughter won’t marry me? Now, armed with mutton, wine, and clothes, I will take Meiying as wife. Just wait until she comes to my house—how I’ll spin her around and get down to business! What fun that would be! This is just what people have in mind when they say, The night of painted candles in the bridal chamber, When a pounding mallet hangs on the golden roster.”26 (Mother Qiu enters.) Mother Qiu: I am the Woman Liu, the mother of Qiu Hu. Since my son left for the army, it has been ten years, and I’ve never heard a word from him. Fortunately, I have my daughter-in-law to depend on. She has supported me by rearing silkworms and selecting cocoons, mending and patching, washing and starching clothes for others. I haven’t been feeling well these days, and I don’t know what’s going to happen. Why are my eyelids twitching all the time? I’d better sit down quietly to wait and see what happens. (Luo enters.)

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Luo: I, Squire Luo, am on my way to the Lu family village.27 When I see Mother Qiu, I’ll know what to do. There’s no need for anyone to announce my arrival. I’ll go straight in myself. (Luo greets Mother Qiu.) Mother Qiu, how have you been lately? Mother Qiu: Have a seat, Squire Luo. What brings you here today? Luo: Your son hasn’t been home for a long time, so I have come over to visit you and to cheer you up. Here is some wine. Let me offer you three cups. Mother Qiu: Thank you! What have I done to deserve this wine? (Luo passes her three cups of wine.) Luo: So you have drunk the wine! Also, here is a piece of red silk for my daughter. She can use it to make a dress. Mother Qiu: Indeed, I’ve put you to too much trouble. When Qiu Hu returns home, I’ll have him thank you in person for your kindness. (Mother Qiu accepts the piece of red silk. Luo claps his hands and laughs.) Luo: Done! Done! It’s all done! Mother Qiu: What do you mean by saying “Done! Done!” and what’s all done? Luo: Mother Qiu, the wine and the piece of red silk are not mine, but the gift of Squire Li, who lives in our village. These three cups of wine are the wine of acceptance; the piece of red silk makes the betrothal binding. Qiu Hu is dead and Squire Li wants to marry Meiying. He will bring the mutton and the wine in person. I’ll be going now. (Recites:) It was Squire Li who made up the plot, And you who’ve accepted the betrothal gift. You’d better have Meiying remarry soon, Lest you be brought to court and suffer humiliation. (Exits.) Mother Qiu: That old fellow is void of propriety! He’s gone now. How can I tell Meiying when I see her? Where is Meiying? (Meiying enters.) Meiying: My name is Meiying. Ten years have passed in a trice since Qiu Hu left. I have been supporting my mother-in-law by doing menial jobs28 for others. She hasn’t been feeling well these days. I’ve just come from the silkworm nursery, so I’ll go in to see her now. Ah! Qiu Hu, who knows when you’ll come home? (Sings:) [Zhenggong mode: Proper Decorum] To think that for only one night’s fleeting intimacy, I’ve heaved in vain a thousand endless sighs. In vain have we been called man and wife. Qiu Hu has left behind his aged mother, Who is consumed by sickness, And day after day she keeps to her pillow, languishing in bed. (Speaks:) Someone told me, “Meiying, send for a doctor to look after your mother.” That was probably the right thing to have done! (Sings:) [Rolling Silken Ball]

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It’s not that I did not want to send for a physician to come and take her pulse, But where could I get the money for medicine to cure her? Furthermore, the doctors in this village are all good-for-nothing quacks! For days I’ve been imploring heaven and earth That son and mother may soon be happily reunited. A wife, it’s often said, is just the plaster on the wall.29 I pray that sooner or later my white-haired mother-in-law will be well. (Speaks:) Oh, heavens! (Sings:) But as for that young man of mine— When will he ever return home? Letters have ceased and news is rare! (Meiying greets Mother Qiu.) Mother, have some gruel. Mother Qiu: Meiying, there’s one thing I’d like to tell you. Even though Qiu Hu is not at home, since you are still young, you’d better keep yourself well-groomed. When the peddler comes, you ought to doll up with some rouge and powder. Don’t let others laugh at you because of your shabby looks and disheveled hair. Meiying (sings:) [Daiguduo] Mother stated her view: I ought to put on something new. But am I really the kind of woman who doesn’t know the ins and outs of decent grooming? (Speaks:) Oh, Qiu Hu! (Sings:) He’s been gone five years—ten years; A thousand mountains, ten thousand rivers lie between us. Previously, Mother-in-law was left with no one to rely on, And now together mother and daughter haven’t enough to live on! Mother Qiu: Meiying, why are you flying into a rage?30 Meiying (sings:) How dare I fly into a rage? (Speaks:) Mother is telling me that when the peddler comes, I ought to buy some rouge and powder for makeup. But, I say, Qiu Hu has been away for ten years and we’ve had to go without clothes and food. (Sings:) Mother, who has the spare cash to patch a bamboo colander?31 (Squire Li enters with Squire Luo and his wife, leading musicians.) Li: I have come here to take for myself a wife! “The night of painted candles in the bridal chamber, / When a pounding mallet hangs on the golden roster.” Meiying: Mother, they’re playing musical instruments outside. Are they celebrating the Ox Deity Festival? Let me have a look.

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Mother Qiu: Meiying, go take a look. (Meiying goes out to have a look.) Meiying: I was wondering who it could be. It’s Papa and Mama. Where have you come from? Luo: We have got you a husband. Meiying: Papa, for whom did you get a husband? Luo: We have got you a husband. Meiying: What kind of talk is that? A husband for me? (Sings:) [If a Scholar] You come with wine and mutton Leading a band of drummers and pipers— I already have a husband, Why are you bringing me another? No wonder they say you country folks are muddleheaded And have no common sense. Luo: My child, Qiu Hu is dead, and Squire Li wants to marry you. Meiying (sings:) I’ve been Zhang’s woman; Now you’re asking me to be Li’s wife.32 Whoever heard of such nonsense! Mother Luo: My child, haven’t you heard that to follow the words of one’s parents is considered great filial piety? You’d better marry him. Meiying (sings:) [Rolling Silken Ball] With the rooster I married I will fly together. Father and Mother, you made this match. Whether rich or poor, my lot is the marital knot. From morning till evening, My lips have touched neither rice nor water. What’s there to say about food and clothes in abundance! The chills that run up and down my spine Are from the frigid cold I have weathered; The growling of my stomach Is from the starvation I have endured. Don’t think I would ever deviate from the right path! Luo: Just stop all this fuss! Your mother-in-law has already accepted the betrothal gift of red silk. Meiying: How could that be! I’ll go and ask my mother-in-law. (Meiying approaches Mother Qiu.) Mother, Qiu Hu has been away for ten years, and I’ve been doing odd jobs to support you. How could you marry me off to another man? What good is my life? I might as well kill myself.

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Mother Qiu: Meiying, I had nothing to do with this. Your father is the one who forced me to accept the red silk. He is the one who sold you. (Mother Qiu wails.) Meiying (sings:) [Taking Off Plain Clothes] While she weeps and wails I mourn and lament. (Meiying goes outside and sings:) Father, you don’t fear at all the jeers of our relatives and friends. Luo: I’m going to have the money and presents divided evenly between your motherin-law and me. Meiying (sings:) So he wants to divide evenly the money and gifts. Luo: My child, if you marry him, I’ll get some wine to drink and meat to eat. Meiying (sings:) [Drunk in Peacetime] Father, fortunately you’ve not yet enjoyed the food and drink! Mother Luo: My child, I want to have a banquet too. Meiying (sings:) Mother, must you have a banquet as easily as that! Li: Keep quiet, young woman. Take a look at me. I’m not all that ugly. (Li makes a face; Meiying strikes him and sings:) I’ll smack this wretch violently across the face. If you come near me, I’ll claw your hide. (Speaks:) In peaceful times like these, with this vast cosmos as witness, (sings:) How dare you trifle publicly with a woman of decent family! (Meiying approaches Mother Qiu and sings:) Aiya! This is clearly taking advantage of the helplessness of dear old Motherin-law. Luo: What’s all this shouting about? You disobedient, rebellious little slut! Meiying (sings:) You turn around and scold me for being disobedient and rebellious, For defying my parents to their faces. Father, how could you bear to debase yourself like that? Li: Look, young woman, stop making all this fuss. I’m not disgracing you. Haven’t you heard: only with the phoenix is the phoenix matched; only to each other can mandarin ducks be paired. Meiying (sings:) [Song of Endless Words] You say that only with the phoenix is the phoenix matched, And only with each other can mandarin ducks be paired.

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I say, I’ve had enough of your rustic ways. (Drums and music begin to sound. Meiying becomes angry and speaks:) Why haven’t you people left yet? (Sings:) Save your village drums for your own village. Li: Come here, young woman. No one in the village is as rich as me. Meiying (sings:) In truth this is beneath my contempt! In truth this is beneath my contempt! If you have copper coins, I say You’d better embrace them while you sleep! Luo: Look, you little wretch, rather than live in poverty, you’d better marry Squire Li and live well. Meiying (sings:) [Coda] Father, how could you use the joys of the bridal chamber to lure me into a trap?33 Li: I ain’t all that ugly. Meiying (sings:) I curse you as a villain who’ll taste the blade of death at the marketplace execution ground in Yunyang.34 Yokels and hooligans are your kin, Rich village heads your chums. Ai! You, an ignorant country fellow, What do you know of officialdom? Where is my husband at this moment? Perhaps, surrounded by embroidered curtains, He rides a black-canopied carriage with carved wheels; Or, with a bridle of jade and a golden saddle, He sits astride a noble steed, Two lines of runners standing in attendance, The pitchers and silver basins arranged in rows. As big as a peck, the golden seal of office is carried close behind him; As big as a curtain, the banner of his chariot bears the word “General.”35 But when he remembers that his mother is almost seventy, Soon he will return to his native village, where his roots run deep, Where mother and son, husband and wife will be united once again. You ass, you bumpkin, you’ve made an enemy of me! Who knows on what day he will be nearby— Then, like wolves and tigers, his runners will seize you! Qiu Hu will ask, Who has tried to seduce my wife? Who has been mistreating my mother?

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(Meiying pushes Li to the ground and sings:) Don’t think I will let you off easily at that time. (Meiying and Mother Qiu exit.) Li: Well, I didn’t even get to marry her, and yet I was booed and cussed and knocked to the ground. How can I tolerate such a thing? (Recites:) Just because I am impatient for the painted candles in the bridal chamber, I’m in danger of being hit in the midriff by the pounding mallets on the golden roster. Luo and Wife (recite:) It is all because your union with Meiying is destined not to be; It’s not that my daughter has been putting on an act. (Exit.)

ac t 3

(Qiu Hu enters dressed as an official.) Qiu Hu: I am Qiu Hu, a humble official. Back then when I was drafted into the army, I met the marshal. Seeing that I was well versed in civil and military affairs, he was very much pleased. During my service under him, I piled merit on top of merit and was awarded the position of a state minister.36 Then I told him that I had left home ten years ago and that I have there an aged mother whom I have long neglected to support. So I begged to be granted leave to return home. Fortunately, Duke Zhao of Lu37 took pity on me and gave me a gold ingot just so that I could adequately provide for my mother. And now dressed splendidly in a brocade robe, I am returning home to visit my mother. (Recites:) To think that yonder day I cried and sobbed as I left for the army, And today I laugh happily, returning home with honors. I bear an ingot of bright, bright gold to offer to my mother And to comfort my lovely, lovely young wife. (Exits.) (Mother Qiu enters.) Mother Qiu: I am Qiu Hu’s mother. Since my son left home, there’s been no news of him at all. The other day I had to put up with his parents-in-law’s nonsense. But thank goodness, my daughter-in-law has such a steadfast and chaste heart that she refuses to remarry. If she had consented, on whom could I have relied for sustenance and support? My daughter-in-law left early this morning for the mulberry garden to pick mulberry leaves. To think that she works so diligently, and that she does all this for me! I just hope that after I die, I will in turn be reborn as her daughter-in-law and will be able to care for her as she has cared for me. Only then will I have repaid her. The weather is oppressive. I think I’ll go and rest for a while. (Exits.)

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(Meiying enters carrying a mulberry basket.) Meiying: I’m on my way to gather mulberry leaves. (Sings:) [Zhonglü mode: Powdered Butterflies] Ever since I married Qiu Hu, In my new family we barely have enough to live on. Could it be that my stars38 ordain the lot of the widowed and the lonely! I have suffered hunger and cold, Endured chill and famine, And by my own parents I have been bullied. From the outset our prospects were desolate and bleak. Worse still, we have gone without a harvest In these times of famine. [Intoxicating Spring Wind] Around me all I see is a stretch of desolate trees under a cloud-laden sky— One could willfully mistake it for a river village in spring rain. Oh, who could have so angered heaven, And caused us farmers so much, so much suffering? Why speak of the many joys of marriage? It amounts to no more than a single night of intimacy, Followed by a lifelong separation for husband and wife. (Speaks:) Here I am at the mulberry garden. (Sings:) [Joy for the World] I’ll set my mulberry basket down And pluck from this lush mulberry tree. All I see are thick shadows, soft and tender, Like a brocade of kingfisher green, and, oh, so hazy. I’ll penetrate this mist beneath the leaves, And scatter dewdrops clinging to the tips of branches.39 (She begins to pick mulberry leaves.) I’m just a country wife, used to gathering cocoons and spinning silk, But now I am one plucking flowers and playing with willows.40 All I fear is that if I tarry, the silkworms will starve— How can I afford to worry if the leaves I pick are spoiled, Or the twigs I pluck are wilted? (Speaks:) I’m warm now. Let me take off this blouse and see if I can dry it in the sun. (She sets the blouse out to dry.) (Qiu Hu enters, having changed into ordinary clothes.) Qiu Hu: I am Qiu Hu, a humble official. I’ve come here, and being not far from my home, I’ve changed my clothes. Well, isn’t this our mulberry garden? These trees have all grown. Let me get closer: but why is the gate to the garden standing open? I’ll take a look. (He sees Meiying.) What a pretty girl! She’s standing with her back to me.

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I can’t see her face; I can only see her from behind. White is her neck, and black her hair. How can I get her to turn around so I can get to look at her? What a delight that would be! Oh, I’ll just recite four lines of verse to cajole her. Then she’ll certainly turn around. (Recites:) Who is this lass of twice eight years? With basket in hand she has gone to gather mulberry leaves. Her silken blouse hangs upon a branch, The wind stirs and fills the garden with fragrance. Why didn’t she hear? I’ll repeat it. (He recites again.) (Meiying turns around to retrieve her blouse.) Meiying: I’ve been gathering leaves here, but who could this man be? Here he is, having entered the garden, barely giving me time to get dressed. (Qiu Hu bows.) Qiu Hu: I bow to you, young lady. Meiying (startled, returns the salute and then sings:) [Fragrance Fills the Courtyard] Flustered, I return a country maiden’s greeting. Qiu Hu: I am honored, young lady. Meiying (sings:) He is not an idly drifting vagabond, But, I’ll wager, a scholar of renown on his way to sit for the examination. Now I see him bowing low, Hands clasped within his sleeves, Offering words of greeting. Since you have read the books of the sage Confucius . . . Qiu Hu: Young lady, could you go get something cool for me to drink? Meiying (sings:) I am a married woman who picks mulberry leaves and raises silkworms. What makes you think that I’m a country wench who hoes the field and delivers meals? Qiu Hu: There’s no one here, young lady. Come closer. Let me be your lover! What’s there to be afraid of ? Meiying (becomes angry, sings:) Out of the blue he blurts out these unwonted, shameful words. How is it that this man, to all appearance decent, Should behave in such an ungentlemanly manner? What am I to do? Qiu Hu: There’s no one around here, young lady. I implore you. As they say, “It’s better to meet a young man than to labor in the fields, and better to marry a fine gentleman than to pick mulberry leaves.” Why don’t you do as I wish! Meiying: This wretch is indeed without shame! (Sings:)

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[Ascending a Small Tower] You wish us to pair like winged birds, But have you ever heard the cuckoo— Over there he sings and quavers, Urging you, sir, to hasten home. Qiu Hu: You’re just a girl who raises silkworms; how can you be compared to the cuckoo that was once a king?41 Meiying (sings:) You are saying that there is no comparison: So that silkworm nursery of mine Is where you should like to stay? But my silkworms will get old, And what will I do then?42 Qiu Hu (turning aside:) Nothing ventured, nothing gained. (He tugs at Meiying.) Why don’t you let me have my way, young lady? Meiying (pushing him away:) Back off ! (Sings:) [Twelfth Month] Oh, what family could a man like you come from? You’ve really got your nerve! You’ve got some gall! Your salacious eyes are staring and bulging, With hands and feet you tug and pull. Qiu Hu: Even if you could fly, you couldn’t get out the garden gate. Meiying (sings:) Now he blocks my way home, So I’ll have to cry out for help. (Speaks:) Shasan, Wangliu, Bange’er, come and help me! Qiu Hu: Stop yelling, young lady! Meiying (sings:) [Song of the People of Yao] In the mulberry garden he would force me to fulfill his pleasure. He frightens me—my hands and feet shudder with fear. Now he embraces me, hugs me, tugs my clothes, And, dashing to and fro, he blocks my way! At first I thought he was a high-capped scholar, But he turns out to be an ill-bred cad! Qiu Hu (turning aside:) Wait a minute. This girl refuses. How can I get her to give in? I have here the gold ingot that Duke Zhao of Lu bestowed on me for the support of my elderly mother. But my mother won’t know about it. As the saying goes, “Riches move the heart.” I’ll give this girl the gold, then for better or worse she will let me have my way. (He takes out the gold and approaches Meiying.) Hey, young lady, if you yield to me, I’ll give you this gold.

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Meiying (turning aside:) This young rascal is without shame! Now he’s brought out a gold ingot. Well, I suppose I could do this . . . Say, fellow, why didn’t you say earlier that you had gold? You come over here, and I’ll go over there to see if there’s anyone around. Qiu Hu: She’s willing! Go ahead and see if anyone’s around. (Meiying goes out the gate.) Meiying: You beast! Listen! Don’t you know that when a man sees gold he mends his ways, and when a woman sees gold, she dares not allow her resolution to weaken?43 Seeing that I refuse, you beast, you drag out your gold. Do you think that this is its proper use? (Sings:) [Teasing Children] Don’t you know that in books there are women as beautiful as jade?44 Qiu Hu: Alas! How she’s taunts me relentlessly!45 Meiying (sings:) You offer money, hoping thus to buy the amorous sport of clouds and rain.46 Don’t you know that you ought to spend your gold on book collecting? Ai! You are a fine gentleman, Accustomed to using pearls, and relying on money-laden pockets To throw your weight around. Haven’t you heard that a gentleman uses money wisely? I can no longer hold back my anger. I curse this monkey, scrubbed and capped like an official, This ox, this horse, bedecked in robes. Qiu Hu: Young lady, if you refuse, I’ll go home with you and complete the matrimonial arrangements. How about that? Meiying (sings:) [Penultimate Coda] Within that cattle stall, How can a genteel marriage be arranged? In a crow’s nest, How can a phoenix brood be raised? On paper made of silkworm cocoons, A wedding register is difficult to keep. The squat mulberry bushes Will never grow into lofty trees with branches intertwining. In the hemp-soaking pits, The paired-eye fish will not survive.47 From a windlass crank, Linked jade beads cannot be fashioned. And a depraved fellow such as you, I’m sure, The earth destroys and heaven extirpates.

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Qiu Hu: Stop talking like that, young lady. If you still refuse, I’m not going to fool around anymore. I have no choice but to beat you to death. . . . Meiying: Whom are you going to beat? Qiu Hu: You! Meiying (sings:) [Third to Last Coda] If you so much as peek at me, I’ll brand you on the forehead. Tug at me, And I’ll lop off your hands and feet. Lay a finger on me, And I’ll crack your backbone. Pinch me, And I’ll have you banished a thousand miles away.48 Embrace me, And I’ll have you mount the wooden donkey at the crossroads.49 Aiya! You who will suffer countless hackings from the law: I have not torn up your family burial grounds, Nor killed off your kith and kin. Qiu Hu: This woman has no manners at all! If you refuse, we’ll just forget about it. Why do you have to curse me like that? Meiying (raises the mulberry basket and sings:) [Coda] With bulging eyes, the wretch looks on as I berate this corpse of his; Shamefaced, he watches me curse his forefathers. Who told you to try to seduce a genteel woman in the mulberry garden? Even if your ancestors from seven generations back leaped out, They could not come to your assistance. (Exits.) Qiu Hu: After suffering this hail of abuse, I’ll take my gold ingot and go home to care for my mother. (Recites:) When I saw her lovely looks and graceful air, In spite of myself I became stirred. Words I used to dally with her, But alas, she cursed my ancestors from seven generations back! (Exits.)

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Mother Qiu (enters, recites:) She rises with the sun to gather tender mulberry leaves. By midday, the basket is not yet full.

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Only then would one come to realize that those who wear silken dresses Have never been mulberry maids. I am Qiu Hu’s mother. My daughter-in-law went to gather mulberry leaves. It’s getting late—why hasn’t she returned home yet? (Qiu Hu enters dressed as an official, followed by attendants.) Qiu Hu: I am Qiu Hu, a humble official. Here I am at my family gate; I will just go straight in. Mother, your son has returned home. Mother Qiu (startled:) Who is this high official? Qiu Hu: I am your son, Qiu Hu. Mother Qiu: My son, you have become an official! You have almost been the death of me! Qiu Hu (presenting her with the gold ingot:) Mother, I have become an official and now serve as a minister of the state. When the Duke of Lu sent me home with honors, he gave me this gold ingot whereby I can support my aged mother. Mother Qiu: My son, we’ve had some hard times these past years. Qiu Hu: Mother, where is Meiying? Mother Qiu (sadly:) My son, you have been gone for ten years. Had it not been for Meiying’s support, I would have starved to death long ago. Meiying has gone today to gather mulberry leaves in the garden. Qiu Hu: Mother, where is Meiying? Mother Qiu: She has gone to gather mulberry leaves and will be back anytime now. Qiu Hu: Ah! The wench I attempted to seduce a short while ago in the mulberry garden—could she be my wife? If so, I’ll know what to do when she returns. (Meiying enters, flustered.) Meiying: Let me hurry! Hurry! Hurry! (Sings:) [Shuangdiao mode: Song of New Water] If this were not the fourth month, when we are busy with farm chores, I would have seized that worthless fellow And not let him off lightly. But ravens were soaring in the darkened sky, Silkworms had come to age, and the barley was soon to wither; And there was nothing else but an endless row of tender mulberries and a stretch of wooden houses. At that urgent moment, nary a neighbor was seen upon the village paths; I also feared someone might have witnessed—oh, what an abominable encounter! (Speaks:) Ours is not a family of village dignitaries. Why is there a horse hitched before our gate? Let me put my mulberry basket in the silkworm nursery and take a look. This whoreson is indeed without shame! He tried to seduce me in the mulberry garden, and because I resisted his advances, he now comes openly to my house! (Sings:)

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[Song of Sweet Water] This wretch bullies the weak, betting on his power. What gall! What nerve! How dare he come to our village? In spite of myself, my chest is bursting with rancor! Here I come, taking big strides, tugging my clothes, And lunging forward to seize his silken robe So I can take him to court and clear up this matter. (Meiying seizes Qiu Hu.) Mother Qiu: Daughter-in-law, don’t haul him off. It’s Qiu Hu, who has returned home. (Meiying releases him, sings:) [Song of Breaking a Cassia Branch] Ah! So this is the filial Zeng Shen,50 who has returned home with honors! (Meiying goes out the door and calls to Qiu Hu.) Meiying: Qiu Hu, come here! Qiu Hu: Why are you calling me, Meiying? Meiying: Have you ever seduced the wife of another man? Qiu Hu (turning aside:) I have been exposed! There is no other way out. . . . Meiying, when have I ever seduced another woman? Meiying (sings:) Why did you trifle with someone else’s wife? Try to seduce another man’s woman? Judging from your foolish and absurd conduct, How can you be worthy of the black boots and the ivory tablet? The purple sash and the gold medallion?51 You have won wealth and position And have become a pillar of the court. (Speaks:) Do you know how I have supported your mother these past ten years? (Sings:) How you have utterly disgraced your wife, who’s endured so much poverty at home! I have suffered endless sorrow; I have been tortured by endless longing. How could I have known that for one night’s affection I would suffer desolation for half a lifetime? Mother Qiu: Daughter-in-law, come here. (Meiying and Qiu Hu approach her.) The ruler of Lu presented this gold ingot to my son so he could support me in my old age. Since you have served me well these past ten years, allow me to express my gratitude by giving you this gold ingot. Please accept it! Meiying: Mother, I dare not accept it. You keep it and make hairpins from it. (Meiying goes out the door alone and then calls to Qiu Hu.) Qiu Hu, come here! Qiu Hu: What is it this time? Meiying (sings:)

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[Fake Cards] You thief ! I have caught you red-handed! Ah! You handsome good-for nothing,52 don’t even try to protest! This gold ingot was presented to you, a high official, by the Lu ruler So it could be taken home to support your mother. (Speaks:) Had the gold been presented to another woman—(sings:) [Pea Leaves Are Yellow] She would have accepted the gold And yielded to the wishes of a talented man like you. Did you care if your dear old mother died from hunger? When good fortune comes, one’s spirit soars! When talents are lofty, words become forceful! But you should have recalled the line from The Classic of Poetry, “There was a girl longing for the spring.”53 Let’s talk it over at some length: Did you not propose a rendezvous “among the mulberries,” From where we would depart for “the banks of the River Qi”?54 (Speaks:) Qiu Hu, have you ever seduced the wife of another man? Qiu Hu: How suspicious you are! Meiying (sings:) [Paddling on the River] Did the fair lady accept your offer? (She picks up the mulberry basket, sings:) Well, I guess I will take my basket and go to gather mulberry leaves. In vain will I blame my father and mother For having chosen such a fine husband. He was such an impressive-looking man; After that single night of painted candles in the bridal chamber, How could I have expected this would happen? [Joy in the Palace] You are only expecting conjugal bliss within the golden palace, Yet I have squandered my flowering youth on you, you man of substance! Now I will prefer to roam the streets every day in hunger, Begging for leftover scraps and cold gruel. Grant me the divorce papers! Qiu Hu: Why are you asking me for divorce papers? Meiying (sings:) Let us go right away to court and clear up this matter, So that one day the story may be told of how “The woman aspires to faithfulness and chastity, While the man mimics talent and virtue.”55

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Mother Qiu: Qiu Hu, what is all this bickering about? Qiu Hu: Mother, Meiying refuses to take me back! Mother Qiu: Daughter-in-law, why do you refuse to take him back? Meiying: Qiu Hu, you listen: My faithful heart is as pure as snow. When you offered me the gold, I refused. Had I responded to your advances with gay conversation, Who would have believed that for half my life my only companion has been a single lamp? Qiu Hu, hand over the divorce papers! Hand over the divorce papers! Qiu Hu: Meiying, you are wrong! I have brought your official insignia, your team of horses, and you grand carriage. You are my noble lady. How can you bear to leave me? Meiying (sings:) [Wild Geese Alight] Who would touch this official insignia? Who would marvel at this embroidered robe and golden crown? (Speaks:) Even if I had them, (sings:) I would store them tight in a trunk And never dare to put them on. [Victory Song] Ah! The wind stirs once more and fills the garden with fragrance. (Squire Li enters along with Luo, his wife, and servants.) Li: She has accepted my betrothal gift, and yet she abuses me! Can I just forget about the whole matter? I have brought several brawny attendants along and will force her to marry me! Luo and Wife: Today is a fine day. We’ll help you with the abduction! (They see Meiying approaching.) Isn’t this our daughter, Meiying? Meiying (sings:) Their coming is like adding frost to snow. Earlier, I refused to yield even to a top scholar;56 How dare you, cowherd, harbor similar hopes? Qiu Hu (shouting:) Hey there fellow, what are you doing in my house? Li (taken by surprise:) Aiya! He has become an official and no longer serves in the army! I heard you’d returned home with honors, and so I have come especially to offer my congratulations. Luo and Wife: Pooh! You said he was dead! Li: He’s not dead, but I soon will be! Qiu Hu: So that wretch has fabricated this story in order to steal my wife! Attendants, place him under arrest and take him to Juye county. Urge the magistrate there to pass a heavy sentence on him! (Attendants bind him.)

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Li: This wasn’t my idea; it was your in-laws’. They owed me forty piculs of grain and offered to sell me their daughter to even accounts. Qiu Hu: This is even more reprehensible! It is clear you have been giving out loans illegally and then forced your debtors to sell their daughters to you. Attendants, go to the magistrate of Juye county and tell him to pass the following sentence: forty heavy strokes on the back, three months in jail, and a fine of one thousand piculs of grain to be given to victims of famine. Tell the magistrate not to deal with him lightly! Attendants: Yes sir. Li: I yearned foolishly for a night in the vernal bridal chamber. Who’d have thought that the person with the pounding mallet on the golden roster would materialize? Luo and Wife: How ashamed we are to be in such a mess! We had better go along with Squire Li to Juye county and then slip away. (Recite:) We shall do like the tortoise, And withdraw into our shells so as not to be seen. (Exit together.) Mother Qiu: Daughter-in-law, if you refuse to take him back, I will kill myself ! Meiying (sings:) I am so flustered, My heart beats like a fawn in flight: Let us talk this over. (Speaks:) Mother, I will take him back. Mother Qiu: Daughter-in-law, you have taken him back, and I’ll not kill myself ! Meiying: Fine! Fine! Fine! (Sings:) We womenfolk give in too easily! Mother Qiu: Daughter-in-law, since you have agreed to take back Qiu Hu, go comb your hair and freshen up a bit. Then you and Qiu Hu may come and pay obeisance to me. (Meiying exits and then reenters with new clothes. Meiying and Qiu Hu first pay obeisance to Mother Qiu, then to each other.) Meiying (sings:) [Mandarin Ducks Coda] If it were not for fear that no one would serve dear Mother in her old age, The bond of husband and wife would have been almost hopelessly broken. I shall from now on remove my bramble hairpin And change into finer attire, So that a lifetime of glory and splendor Will be ours to share. It was not because I pretended to be stubborn, Or was putting on a show of defiance, But the principle of wifely authority has to be upheld.57 Compare me not with Luo Fu,58 Who only told tall tales about her husband.

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Qiu Hu: Of all the joys in the world, nothing can be compared with having a mother and son together, a husband and wife living in harmony. Let us slaughter a lamb, prepare some wine, and commence a celebration feast! (Recites:) I recall at the time I was just married, When the draft officer suddenly took me away. With a broken heart, I left behind wife and mother, But things have miraculously changed these past ten years. By a stroke of luck I have won success— Having doffed my battle dress, now I wear a brocade robe. The ruler, out of kindness, bestowed upon me a gold ingot So I can provide my dear old mother with delicacies in her old age. While passing by the mulberry garden, I chanced upon my own wife, Pretending to be infatuated, I tried hard to seduce her.59 But her virtue and faithfulness never changed, Her name deserves to go down in history. To this day, if you should pass by Juye county And ask an old-timer, He still can tell you the story of Qiu Hu of Lu, who dallied with his wife.

Topic: Meiying, a Virtuous Wife, Remains Ever Faithful Title: Qiu Hu, Official of Lu, Tries to Seduce His Own Wife60

n ot es tHe t ran sL at ors are m em be r s o f Pr o fe s s o r W u - c H I L I u ’ s yu an dram a cL ass at I n d I a n a u n Iv e r s I ty.

1. Qiu Hu is obviously suggesting that they should take refuge in the shade together. 2. Mao 107, Maoshi zhushu 5C.206–8, in Chongkan Songben shisanjing zhushu fu jiaokan ji. 3. Since “The Song of Qiu Hu” (Qiu Hu xing 秋胡行) is a “Music Bureau” (Yuefu 樂府) title that once had music attached to it, some poems bear that title merely through musical associations and have nothing to do with Qiu Hu. For example, “The Song of Qiu Hu” by Cao Cao 曹操 (155–220) describes “wandering with immortals” (youxian 遊仙) (Lu Qinli, Xian Qin Han Wei Jin Nanbeichao shi, 1:349–50), and another poem with that title by Cao Pi 曹丕 (187–226) traces a man’s longing for a woman (ibid., 396). 4. Yuan Hongdao, Yuan Hongdao ji jianjiao, 2:579. 5. For Liu Zhiji’s comment, see Liu Zhiji, Shitong tongshi 23.90. Zhu Youdun’s comment is cited in Xu Fuming, Yuandai zaju yishu, 55.

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6. Sun Kaidi’s view is discussed in Shi Junbao, Shi Junbao xiqu ji, 1–3. 7. Zang Maoxun, YQX, 3:1494–1526. 8. That is, her maiden name is Liu. Throughout the play, Qiu Hu’s mother is called Old Woman (Bu’er 卜兒), a stock character in Yuan drama. For the sake of clarity, we adopt “Mother Qiu” as her name. 9. The appellation Dahu 大戶, rendered here as “Squire,” refers to a well-to-do family (literally, “grand household”). It is also the name given to the head of the family. 10. A son-in-law is only a banbian 半邊 or banzi 半子, or one-half of a son. 11. That is, the feast that takes place on the third day after the marriage. 12. Meiying refers to her mother-in-law affectionately as nainai 奶奶, which we render as “Mother.” 13. “The Crying Osprey,” the first poem in the Classic of Poetry, seems to be an epithalamium. The crying osprey is the affective beginning image; the poem unfolds as the quest of the beloved and the celebration of union. Described as “joyful but not licentious” (le erbu yin 樂而不淫) in Lunyu zhushu 3.20, the poem is said to epitomize the proper relationship between men and women. 14. Literally, a minister in “chambers painted yellow.” During the Han, the prime minister’s chamber is called the yellow chamber. After the Han, the gates of major ministries were painted yellow. 15. People “void of treasures in their bellies” are those who possess neither intelligence nor knowledge. 16. The term “proper conscript” (zheng jun 正軍) introduces contemporary echoes. In the Yuan military system, “when two or three families combined to send forth one person [to serve in the army],” they were called units with proper conscripts (zheng jun hu 正軍戶); see Song Lian et al., Yuanshi 98.2508. 17. Han ministries had gates flanked by bronze horses. The Jade Hall is the meeting place for important ministers. “Jade Hall” and “bronze horses” become emblems for a successful official career. 18. Wo xiangzhe ruren diandao bururen 我想著儒人顛倒不如人. The pun here depends on the homophones ruren 儒人 (scholars) and ruren 如人 (as good as others). This may be an oblique reference to the low status of Confucian scholars during the Yuan. 19. The “auspicious kylin” refers of course to Qiu Hu. A special person is often referred to as kylin (sometimes translated as “unicorn”). 20. Literally, “the harmony of Qin and Jin.” During the Spring and Autumn era, Qin and Jin were two powerful states that maintained close ties for generations through matrimonial diplomacy. The phrase comes to be used as a nuptial congratulatory expression. 21. Armored soldiers leave shapes reminiscent of fish scales on the ground after lying there. This is a common idiom in Yuan drama and fiction summing up the toil and sufferings of soldiers. See the roughly contemporaneous Tales of the Three Kingdoms (Sanguo zhi pinghua 三國志平話, ca. 1321): “Using the bow as pillow, the moon is pressed into the sand; / Lying in armor, scales sprout on the ground” (zhensha gong yinyue wojia di shenglin 枕沙弓印月，臥甲地生鱗). Cited in Gu Xuejie, Yuanren zaju xuan, 206. 22. The marriage is described in the text as “the union of three” (sanhe 三合), referring presumably to the harmonious intersection of heaven, earth, and humans. 23. It was believed that if one offended the Year Star, or Jupiter, bad luck would follow. 24. A line from the poem “Song of Weicheng” (Weicheng qu 渭城曲), also titled “Sending Yuan Er on His Mission to Anxi” (Song Yuan Er shi Anxi 送元二使安西), by Wang Wei (699–759); see Wang Wei shiji jianzhu, 613. 25. Farmers in Yuan drama often introduce themselves with the following standard verse: “Acre by acre the fields stretch to distant villages; / The masters play with their grandchildren in grand homes. / Peasants have no choice but to work hard hoeing and tilling, / Thanking heaven for the gift of rain and dew” (Duanduan tianmiao jie yuancun taigong zhuangshang nong ersun nongjia zhide chubaoli daxie tiangong yuluen 段段田苗接遠村，太公庄上弄兒孫。農家只得鋤鉋力，答謝天公雨露恩). Here the farcical substitution of lines two and four is a typical comic gesture (dahun 打諢). “Monkeys” (husun 猢猻) and “children and grandchildren” (ersun 兒孫) are associated through the homophone sun.

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26. A comic twist on the lines “The night of painted candles in the bridal chamber, / When one’s name appears in the golden roster” (Dongfang huazhuye jinbang guamingshi 洞房花燭夜，金榜掛名時), said to represent the height of bliss for a scholar. Li, being rather uncouth, cannot hope to pass the examination and have his name on “the golden roster,” hence the substitution. 27. The story is set in the state of Lu in Accounts of Notable Women. “Lu family village” here echoes the setting in the source text. 28. Literally, “to carry clean water and take away filthy water.” 29. “The plaster on the wall” was a contemptuous term used for women in ancient China. Like the plaster on the wall, which may be redone, a wife may be replaced at will. 30. Literally, “why are you flinging the gourd and throwing the ladle”? 31. “To patch a bamboo colander” means to spend money on superfluous items when one does not even have enough money to buy food and clothing. 32. Zhang and Li are the two most common Chinese surnames. “Zhang San Li Si” 張三李四 Zhang the Third and Li the Fourth) is a stock expression meaning “anybody.” An English equivalent for the phrase would be “Tom, Dick, or Harry.” The line fits Meiying’s situation particularly well when she was urged by her parents to marry Squire Li. 33. Literally, use the “stratagem of dragging the sword”; see chap. 4, this volume, n. 62. 34. The name Yunyang has become a stock phrase for an execution ground; see this volume, chap. 1, n. 20. 35. The trope of a woman rebuffing a suitor by boasting of her husband reminds one of the Han ballad “Mulberry on the Lane” (Mo shang sang 陌上桑); see Lu Qinli, Xian Qin Han Wei Jin Nanbeichao shi, 1:259–61. 36. For simplicity’s sake, we have chosen to translate the official title zhong daifu (literally, “middle officer”) as “official.” 37. Duke Zhao ruled in the state of Lu from 540 b.c.e, to 509 b.c.e. As mentioned in chap. 1, n. 13, and in chap. 6, n. 6, this volume, it is common in Yuan plays to use posthumous honorifics in reference to living rulers. 38. What we render as “stars” are, literally, “the five elements.” The five elements are metal, wood, water, fire, and earth. The manner in which these elements combined was thought to determine one’s fate. 39. Here we are reading shao 稍, meaning “slightly,” to be a variation of shao 梢, meaning “tip of a branch.” 40. “Plucking flowers and playing with willows” refers to dalliance with women of easy virtue (usually prostitutes or courtesans). Meiying’s playful reference to these images is ironically followed by Qiu Hu’s very real philandering. 41. The cuckoo in Chinese is known as duyu 杜宇, a name supposedly derived from the name of the king of the state of Shu toward the end of the Zhou dynasty around the third century b.c.e. Du Yu abdicated in favor of his prime minister, who had had great success in flood control. The king then retired to the Western Mountain, where he died and was transformed into a cuckoo. The cuckoo’s plaintive call, thought to sound like the words “You’d better go home” (Buru guiqu 不如歸去), indicates the king’s misery in retirement and his longing to return. 42. Following the conceit of the cuckoo, Meiying is saying that even if she cannot urge Qiu Hu to “hasten home,” she cannot allow him to tarry and spoil her task of raising silkworms. Notice that up to this point Meiying is parrying wit with Qiu Hu and resisting his advances without being too severe. 43. The reference here presupposes men and women of virtue. 44. On the riches and rewards of pursuing studies (“endless grain,” “golden abode,” “jadelike beauty”), see “Encouragement to Study” (Quanxue pian 勸學篇) by Emperor Zhenzong of Song (968–1022; r. 997– 1022). This is a rebuke to Qiu Hu, reminding him that if he pursued his Confucian studies properly, success and therefore beautiful women could come to him naturally. 45. Qiu Hu’s exclamation literally reads, “Why, she’s landed me a plate of (very salty) pickled cucumbers.” Pickled cucumbers have “extra salt” (xianyan 咸鹽); xianyan is homophonous with xianyan 閑言 (tart words).

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46. The “sport of clouds and rain” (youyun zhiyu 尤雲滯雨) is a euphemism for sexual intercourse. 47. Hemp is soaked in a pit for that exclusive purpose to soften it for use in making fabric. The “paired-eye fish” (bimu yu 比目魚) is similar to a flounder or sole; it is flat, with eyes on the upper side of its body. Both the “paired-eye fish” and “trees with branches intertwining” are traditional symbols of conjugal bliss. 48. Literally, three thousand li. A Chinese li is approximately one-third mile. 49. The “wooden donkey” (mulü 木驢) was a wooden stake used as an instrument to administer cruel punishment; see chap. 1, this volume, n. 60. 50. Zeng Shen (505–435? b.c.e.) was one of Confucius’s most famous disciples. He is reputed to have written the Classic of Filial Piety (Xiao Jing 孝經), he himself being one of the twenty-four paragons of that virtue. 51. The black boots, ivory tablet, purple sash, and gold medallion are all the paraphernalia of an official. 52. The epithet “crystal pagoda” (shuijing ta 水晶塔), translated here as “handsome good-for-nothing,” describes someone whose outward appearance manifests intelligence and elegance while inwardly they are really “a block,” that is, ignorant and vulgar. 53. Meiying is quoting here a line from “There Is a Dead Deer in the Wilds” (Ye you si jun 野有死麕) in Classic of Poetry (Mao 23, Maoshi zhushu 1E.66, in Chongkan Songben shisanjing zhushu fu jiaokan ji). The probable context for this poem has been construed variously as successful or failed seduction, courtship, or marriage proposal. The last stanza (“Slowly! Gently! / Do not ruffle my kerchief ! / Do not make the dog howl!”) contains the girl’s admonition, which can be interpreted as forbidding, anxious, or playful. Meiying obviously adheres to the orthodox interpretation whereby the speaker is stating a stern warning. 54. Meiying is alluding to another poem in the Classic of Poetry (Mao 48, Maoshi zhushu 3A.113–14, ibid.), “Among the Mulberries” (Sangzhong 桑中), in which “Sangzhong” and “Banks of Qi” (Qishang 淇上) are associated with the lovers’ rendezvous. The reference to “Sangzhong” is especially apt because Qiu Hu tries to seduce Meiying in the mulberry garden. All these references echo Meiying’s introduction in act 1 as one schooled in the Classic of Poetry. 55. These two lines are from the primer “Thousand-Character Essay” (Qianzi wen 千字文) by Zhou Xingsi (d. 521). While in the original the meaning is positive for both the man and the woman, Meiying is tweaking the implications of the word xiao 效, “to follow the exemplars,” and makes it sound like “to achieve the simulacrum of.” 56. Literally, “the man who catches a huge turtle” (diao’ao ke 釣鰲客), said symbolically of someone with great aspirations; see Wang Xueqi and Wang Jingzhu, Song Jin Yuan Ming Qing quci tongshi, 304–5. 57. Conventional wisdom upholds the “three principles” (sangang 三綱) of the authority of the ruler, the father, and the husband as the basis of normative relationships. “The husband defines the principle of conduct for the wife” (fu wei qi gang 夫爲妻綱)—here Meiying implicitly reverses the saying by claiming that she will define rightful conduct for her husband (qi wei fu gang 妻爲夫綱). 58. Luo Fu is the heroine in an anonymous Han ballad called “Mulberry on the Lane,” mentioned in n. 35, this chap. In the poem she thwarts the advances of a high official by telling him that her husband is also a high official (Lu Qinli, Xian Qin Han Wei Jin Nanbeichao shi, 1:259–61). 59. With this line Qiu Hu claims to be only pretending to seduce his wife so as to test her virtue. This is obviously inconsistent with the actual plot. It can thus be read as Qiu Hu’s blatant attempt to gloss over his error; but it may also be the playwright or an editor wanting to suggest such a line of reasoning that will better justify the comic reconciliation. 60. Zhenlie fu Meiying shoujie Lu daifu Qiu Hu xiqi 貞烈婦梅英守節，魯大夫秋胡戲妻. In The Register of Ghosts, the topic is “Meiying, the Mulberry Picker, Voices Her Lament” (Caisang nü Meiying suhen 採桑女梅英訴恨), and the title is “Qiu Hu, the Sagacious Official, Tries to Seduce His Own Wife” (Xian daifu Qiu Hu xiqi 賢大夫秋胡戲妻).

Romantic Love

9 o n H o R s eB ack and o v e R t H e G aR den WaLL

Bai Pu Trans laTed by Jero m e Cava n augh a n d Wa i -yee li

intRoduction Wai - y e e L i

B

ai Pu (1226–ca. 1295), sobriquet Renfu, was a native of Aozhou (in modern-day Shanxi). He had a more distinguished lineage than most Yuan playwrights. His father, Bai Hua, was a high official under the Jin. When the Jin capital Bianjing (Kaifeng) fell to the Mongols in 1232, Bai Hua fled with the last Jin ruler, and for some years Bai Pu was under the care of Bai Hua’s good friend, the famous poet Yuan Haowen (1190–1257). Father and son eventually reunited and settled in Zhending. Bai Pu did not hold office under the Mongols, although according to The Register of Ghosts, he was honored with various nominal official titles. Only forty songs by Bai Pu survive from what must have been a much larger corpus. Of the sixteen plays listed under Bai Pu’s name, only three are extant. Autumn Nights for the Tang Emperor: Rain on the Parasol Trees (Tang Minghuang qiuye wutong yu 唐明皇秋夜梧桐雨) is based on the romance between the Tang emperor Xuanzong (r. 712–756) and his favorite consort, Yang Yuhuan. This story of passion cut short by dynastic crisis with its tragic end has always yielded opposing readings of cautionary critique and romantic glorification, even as Yang Yuhuan veers between her image as femme fatale and as victim. Bai Pu follows the romantic interpretation of “The Song of Lasting Sorrow” by Bai Juyi (772–846) and turns the emperor’s grief into the lyric focus of the play, although Yang also retains glimpses of a more sinister image culled from various anecdotal sources. Bai Pu’s other two extant plays,

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The Eastern Wall (Dong qiangji 東牆記)1 and On Horseback and Over the Garden Wall (Qiangtou mashang 牆頭馬上), share a similar romantic plot of young lovers thwarted by unyielding parents and ritual, social prescriptions; both carry echoes of The Western Chamber by Wang Shifu. In both plays, young ladies propose secret assignations in the garden and young men scale walls for rendezvous, poetic exchanges communicate longing, obliging maids act as go-betweens, and illicit sexual union is finally legitimized through the young men’s eventual success in the civil service examination and the discovery (or confirmation) of a prior arrangement for marriage made by the parents. Of these two plays, the one translated here is superior both in its more sustained dramatic conflict and its more fully fledged female protagonist, Li Qianjin.2 The full title of our play appears as Pei Shaojun On Horseback and Over the Garden Wall (Pei Shaojun qiangtou mashang 裴少俊牆頭馬上) or Missives of Love Exchanged on Horseback and Over the Garden Wall (Yuanyang jian qiangtou mashang 鴛鴦簡牆頭馬上). Pei Shaojun, the male protagonist named in the title, pales beside Li Qianjin—he succumbs easily when his father, the minister Pei Xingjian, forces him to abandon Qianjin. Like Rain on the Parasol Trees, our play is indebted to a poem by Bai Juyi, number forty of his New Ballads (Xin yuefu 新樂府), “Drawing a Silver Pitcher from the Bottom of the Well” ( Jingdi yin yinping 井底引銀瓶):3 序：止淫奔也 井底引銀甁 銀甁欲上絲繩絕 石上磨玉簪 玉簪欲成中央折 甁沉簪折知奈何 似妾今朝與君別 憶昔在家爲女時 人言舉動有殊姿 嬋娟兩鬢秋蟬翼 宛轉雙蛾遠山色 笑隨戲伴後園中 此時與君未相識 妾弄青梅凭短牆 君騎白馬傍垂楊 牆頭馬上遙相顧 一見知君即斷腸

Preface: This is to put a stop to licentious elopement. Draw the silver pitcher from the bottom of the well— The silver pitcher is about to come up when the silken string breaks. Grind the jade hairpin on the stone— The jade hairpin is about to take shape when it snaps in the middle. The pitcher sinks, the hairpin snaps: what is to be done? It’s just like the way I bid you farewell today. I remember back then when I was the daughter at home, People remarked on the surpassing grace of my every movement. Charming were the two chignons like the wings of autumn cicadas, Wistful were the eyebrows that evoked distant mountains. Laughing, I would follow companions at play to the rear garden: That was the time when I had not yet known you. Toying with a sprig of green plum, I leaned against the low wall; Astride a white horse, you were next to the weeping willow. From over the wall and on horseback, our mutual gaze defied the distance. One look and I knew you were heartsick.

o n H oRseB ack an d o ve R t H e G a R d e n Wa L L

知君斷腸共君語 君指南山松柏樹 感君松柏化為心 暗合雙鬟逐君去 到君家舍五六年 君家大人頻有言 聘則爲妻奔是妾 不堪主祀奉萍蘩 終知君家不可住 其奈出門無去處 豈無父母在高堂 亦有親情滿故鄉 潛來更不通消息 今日悲羞歸不得 爲君一日恩 誤妾百年身 寄言癡小人家女 慎勿將身輕許人

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Knowing you were heartsick, I talked to you; You pointed to the pines on Southern Mountain. Moved by how the pines turned into your constant heart, I secretly combed two chignons into one4 and followed you. For five or six years I have been in your household; Frequent are the caustic words from your father. Betrothal makes one a wife; elopement turns one into a concubine Not worthy of presiding at ancestral sacrifices. I know ultimately your home is not for me to stay, Yet there is no place to go once I leave these gates. How could I lack father and mother in exalted halls? Further, loving kinfolk filled my hometown. But ever since my stealthy journey hither, all news has been cut off. Today, grieving and ashamed, I cannot go back. For one day of your love, My whole life has come to ruin. Foolish and trusting girls, take heed and mark my word: Do not so easily give yourself to another!

The preface of this ballad evokes the categorical judgments in the Mao prefaces in the Classic of Poetry. Despite the cautionary note at the beginning and the end, the poem is suffused with sympathy for the female protagonist. This story might have been retold in various Song-Yuan dramatic genres (now no longer extant), and it is frequently embedded as allusion in Yuan plays, including The Eastern Wall. Lines from Bai Juyi’s poem are cited in our play at the end of act 3. Minister Pei’s rebuke and Pei Shaojun’s self-justification, both citing The Book of Ritual (Liji 禮記), also echo Bai’s poem. However, our play is ultimately more interested in vindicating passion. A series of allusions to the meeting of the Weaving Maid Star and Herd Boy Star on Double Seventh and to the elopement of Zhuo Wenjun and the Han poet Sima Xiangru5 set up, respectively, the mythic and historical antecedents legitimizing the lovers’ illicit union. Whereas the sinking pitcher and the broken hairpin symbolize tragic fate and inevitable separation in Bai’s poem, they are concretized in the play here as Minister Pei’s impossible tests and vindictive persecution of Qianjin, whose frank and fearless pursuit of desire is affirmed in a final act of reconciliation wherein she is given the chance to berate her weak husband and unforgiving father-in-law. This play, mentioned in The Register of Ghosts and Correct Sounds, is found in Anthology, Ancient Masters in Maiwang Studio Collection, and Willow Branch.6 The translation is based on Anthology, and important textual variants are explained in the notes.

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on HoRseBack and oveR tHe GaRden WaLL D r a m at i s P e r s o n a e

Role type Opening Male Old Female Extra Male Lead Zhang Qian Female Lead Meixiang Old Female Old Female Steward Duanduan Chongyang

Name, social role Pei Xingjian, president of the Ministry of Public Works Lady Pei, wife of Pei Xingjian Li Shijie, supervisor of Luoyang Pei Shaojun, son of Pei Xingjian Male Servant of the Pei family Li Qianjin, daughter of Li Shijie Female Servant of the Li family Lady Li, wife of Li Shijie Nurse, nurse in the Li family Steward at the Pei family residence Son of Pei Shaojun and Li Qianjin Daughter of Pei Shaojun and Li Qianjin

ac t 1

(Opening Male dressed as Minister Pei enters leading Old Female dressed as his wife.) Minister Pei (recites:) I am full of classical learning, and poetic lines are upon me thrust,7 The sleeves of my silken gown brush up the fragrant dust.8 I sit back and enjoy fame and fortune in this life; How did this all come about if I did not for learning strive? I am Pei Xingjian,9 president of the Ministry of Public Works. My wife is of the Liu clan and my son’s name is Shaojun. It is now the third year of the Yifeng era under the reign of the Tang emperor Gaozong.10 When the emperor visited the Western Imperial Gardens last year he noticed that the flowers and trees were in great disarray and he was quite unable to enjoy them. I have received a command to proceed to Luoyang and obtain rare and unique flowers, irrespective of whether they belong to powerful or important families. I am to purchase seedlings at a fair price11 and at the proper time plant and graft them. Because I am well along in years now, I have submitted a memorial to the throne to allow my son, Shaojun, to accept the imperial orders and then proceed posthaste to Luoyang in my place. He has been given six days for this

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mission, starting from the New Year Day. My son is the blessing of my life. At the age of three Shaojun could talk, at five he could read, at seven his cursive script had the movement of clouds, and by ten he had a ready poetic wit. He possesses both talent and good looks, and the people of the capital often call him the “young handsome one,” or Shaojun.12 He is now at the capping age of twenty, has not yet taken a wife, and dallies with neither wine nor women. Nothing will go wrong when I send him on this mission—I’m going to have Zhang Qian go along and serve the young master so that he won’t get out of line on his journey, but will just buy some seedlings and bring them back for me. (Exits.) (Extra dressed as Supervisor Li enters.) Supervisor Li: I am Li Shijie, descendant of Li Guang13 and kinsman of the reigning emperor.14 There are three in my family, my wife, of the Zhang clan, and my daughter, Qianjin, who is now eighteen. She is especially skilled in needlework and excels in literature and learning. Her spirit and aspirations surpass others, and her beauty is unmatched. I was formerly the defense commander of the capital but because I remonstrated with Wu Zetian,15 I was demoted to the post of supervisor of Luoyang. Formerly I discussed marriage between our children with Minister Pei, but because of my demotion, we spoke of it no further. Having been called away by my superiors, I am departing today and leaving behind my wife and daughter, who are to stay within the strict limits of the inner quarters. It won’t be too late to discuss another match after I return.16 (Exits.) (Male Lead dressed as Young Master Pei enters, leading Zhang Qian.) Pei Shaojun: I am Pei Shaojun, son of the president of the Ministry of Public Works. From the age of three I could talk, at five I could read, at seven my cursive script had the movement of clouds, and by ten I had a ready poetic wit. I possess both talent and good looks, and the people of the capital often call me the “young handsome one.” I am now at the capping age of twenty and have not yet taken a wife. I have intimate knowledge of the classics but have no experience with women. Following imperial command, I’ve taken the post horse to Luoyang. There, I am to select rare flowers and purchase seedlings at a fair price, regardless of whether they belong to powerful or important families or come from famous and fine gardens. They will then be loaded onto carts and sent on. I shall be on my way back tomorrow. Today is the eighth day of the third month, the Shangsi Festival.17 The nobles and fine ladies of Luoyang have poured out of the city to enjoy themselves. Zhang Qian, let’s go have a look too. (Exit together.) (Female Lead dressed as Li Qianjin enters leading Meixiang.) Li Qianjin: I am Li Qianjin. Today is the Shangsi day and a fine day for a festival it is too. Such a beautiful spring scene! Meixiang: My Lady, look at this spring day, a most enchanting scene! Qianjin: Meixiang, look at the beautiful maidens and talented scholars, fine ladies and noblemen painted on this screen. What a gorgeous scene it is!

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Meixiang: How did these beautiful maidens and talented young scholars get on the screen? This could not have happened easily! (Sings:) [Xianlü mode: Touching Up Red Lips] Husbands and wives in earlier lives, They have karmic bonds preordained. Well versed in the arts, They beg an artist to paint them onto this screen. And he has truly captured the spirit of the immortal Fairy Island!18 Meixiang: Looking at this screen, My Lady is thinking of something. I’ve guessed it! She lacks a husband! Qianjin (sings:) [River Churning Dragon] If I could find a husband with romantic élan, Why would I let him waste time learning to paint eyebrows like distant mounts?19 We would rather have the silver lamp shining on high And hide ourselves behind brocade bed-curtains, Like a brace of lovebirds sleeping, deep among the lotuses, Or a pair of phoenixes, nestling in the safety of the parasol tree. For this precious night worth a thousand pieces of gold,20 When every moment is all too brief, Who cares if I am alone with my coverlet and pillow, counting the long night watch? This piece of padded brocade taking half my bed is called a lovebird quilt in vain. Meixiang: When your father returns, have him look for a husband for you. Won’t that be nice? Qianjin (sings:) But the man, lost and frustrated, ends up wandering in another province, While the girl, long denied love, pines away in her secluded chamber. Meixiang: You have become even thinner these last few days. Qianjin (sings:) [Oily Gourd] Why have I languished in the spring breeze, my waist ever thinner? Without ever getting sick, My old clothes have all become too loose. Meixiang: The mistress said you should do less needlework when you’re not feeling well. That would be better than taking potions and medicines. Qianjin (sings:) An affliction hard to cure, though without pain or ache, Has made me indifferent to fine tea and fine food. Like Qiannü’s spirit about to join her lover in a boat21

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Or the Weaving Maid awaiting her tryst in yonder sky,22 I am languid these days and crave only spring slumber. With seasonal changes I make an effort with needle and thread, [Joy for All Under Heaven] Only I would pick up this and forget about that. Meixiang: The other day several families came to discuss marriage. Why didn’t you say anything? Qianjin (sings:) My mother makes me self-conscious. Even in a poor family, when a daughter reaches sixteen or seventeen, No matter who comes to ask about marriage Or to play the matchmaker, What would you have the bashful girl say? Meixiang: Today is the Shangsi Festival. Noblemen and fine ladies on their elegant horses and in their perfumed carriages are all on their way to the outskirts to enjoy themselves. Let’s go to the rear garden and look about. Qianjin: Meixiang, bring some paper, ink, a writing brush, and an inkstone; let’s set off. (They walk.) Qianjin (sings:) [Song of the God Nezha] I had a mind to bid spring farewell by the luxuriant grass at the pond, But let me first find solace under the briar-rose trellis. I will imagine myself in the caves of Fairy Island: Stepping with my tiny feet in red embroidered shoes, Swaying in the skirt of the river goddess, with girdle pendants chiming.23 I weave past the west of the winding fence. [Sparrow on a Branch] How could I miss the blossoms’ moment of glory? Pity the fragrant petals! Powder fades, rouge pales, Green dims, red grows sparser. Ninety days of springtime flee as a fleet horse through a crack.24 I fear spring’s passing and yet spring has already passed. [Dodder] The willows darken, enveloped in a bluish mist. The flowers wilt, flying down like red rain.25 Now people are so like willows: The catkins swirl and the heart is also blown to breaking; And if willow eyebrows turn not, moth eyebrows knit tight.26 Why is the west garden suddenly in disarray? Because the Lord of East Wind27 cares not if one is pale and wan.

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[Same tune as above] The elms scatter pods like green coins with abandon, Plum trees urge their unripe jade fruit to become plump. The butterflies glide along a gentle breeze, And dragonflies disport after a passing drizzle; Welcoming is the warm sand where the lovebirds sleep. The fallen petals are trampled into the dirt by horse hooves, The remaining blossoms are distilled into bee’s honey. (Pei Shaojun enters riding a horse and leading Zhang Qian.) Shaojun: I believe it when they say that Luoyang is one glorious garden.28 Never mind all the famous gardens in the city. . . . (He points to the flowers.) But just take a look at this garden. (He sees Qianjin and is startled.) A garden. Ah, what a beautiful maiden! Qianjin (sees Shaojun:) What a handsome young scholar! (Sings:) [Golden Cup] West of that picturesque bridge I suddenly hear the neighing of a splendid steed. Indeed, apricot blossoms blazing pink for a thousand miles Set off a handsome face and graceful airs.29 Black boots against ornate stirrups, A jade belt around his waist— He is truly one who can master a proud steed, One who can wear stylish clothes with distinction. Shaojun: Look at her mist-shrouded temples and cloudlike coiffure, her delicate skin and dainty figure. Flowers bloom on her enchanting face, and stars twinkle in her eyes.30 I all but suspect she is a goddess from a celestial grotto, not a beauty from the world of man. Meixiang: My Lady, listen! Qianjin (sings:) [Flowers in the Rear Courtyard] Not to mention that his starstruck eyes are looking me over up and down; It seems he can’t wait to press against my fragrant cheeks, left and right. Red waves will churn the brocade coverlet31 As the silken skirt turns into a mat on the ground.32 Meixiang: My Lady, don’t look at him. If someone were to see . . . Qianjin (sings:) Since we are going to have a tryst And I have set my mind on it, What care I about myself when I love someone? Meixiang: My Lady, you are looking at him, but he isn’t looking at you! (Zhang Qian enters.) Zhang Qian: Master, don’t stir up trouble! Let’s go looking outside the city walls.

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(Zhang Qian urges him on.) Shaojun: Two pairs of eyes are looking at each other with longing. From now on, this love sickness will have to torment me! (Zhang Qian urges him on and strikes his horse.) Zhang Qian: Master, let’s go! Shaojun: Such a rare beauty! I’ll bet she can read. I’ll write a note to provoke her. Zhang Qian, bring a writing brush and paper. Let’s see if she understands. Shaojun (writes, then speaks:) Zhang Qian, take this note and give it to that young lady. Zhang Qian: Master, you are sending me, but if I were to run into someone, I would get a sound thrashing. Shaojun: Let me tell you: If anyone asks, just say that we have come to buy flower seedlings and there won’t be any fuss. If you see the young lady, say that your young master told you to take this to her. Zhang Qian: Master, I’m going. Shaojun: If the maiden likes it, beckon me with your hand and I’ll come. If she rebukes you, wave your hand and I’ll go away. Zhang Qian: I understand. (Greets Qianjin:) Young lady, would you sell some of the flower seedlings from this rear garden of yours? Meixiang: Who wants to buy our flower seedlings? Zhang Qian: My young master does. (Zhang Qian beckons with his hand. Shaojun looks on.) Shaojun: Thank heavens! Things are going well. (Meixiang calls to her mistress.) Meixiang: My Lady, those two have brought over a piece of paper. I don’t know what’s written on it. You look at it, My Lady. Qianjin (reads the poem out loud:) I ask myself: might I have wandered into Wuling paradise? By peach blossoms and flowing stream is one demure across the bank. With his goddess so near, yet so far, Liu Chen is heartsick.33 For whom is she smiling as she leans against the wall? Meixiang, bring the writing brush and paper. (She writes.) Meixiang, I beseech you: don’t stop me. Take this poem over to that young gentleman. Meixiang: My Lady, to whom do you want me to take this poem? What does the poem say? What shall I say when I see the young scholar? What should I do if I run into someone? Qianjin: Be good and run this errand for me. Meixiang: In the past you often beat me and scolded me. Why are you beseeching me today? To whom do you want me to give this? Qianjin (sings:)

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[Same tune as above] You ask to whom should this love lyric be given. I say let my poem be the matchmaker for the moment. The bright sun shines on me as I look over the wall— How could he gather naught but the spring breeze and on horseback return? Just because I am afraid that others might know, You shout to heaven and earth. Oh, little Meixiang, You certainly don’t make things any easier! Meixiang: I’m going to take this note to your mother. Qianjin: Meixiang, I implore you. What would happen if you were to tell my mother? Meixiang: Are you frightened? Qianjin: You know how frightened I am! Meixiang: Are you scared? Qianjin: And how! Meixiang: I was just teasing you. Qianjin: You almost frightened me to death! (Meixiang delivers the note to Pei Shaojun.) Meixiang: My mistress replies to the young master. Look at this poem. Shaojun (reads the poem out aloud:) From the boudoir’s confines I wander for the moment free, Twirling a plum branch that my shyness half hides. Do not betray the tryst tonight in the rear garden When the moon above the willow top glides. Written by Qianjin Shaojun: This maiden has unsurpassed beauty and unmatched literary skill. She can be the veritable treasure in my jewel box! Meixiang: My mistress said not to break faith by not showing up for your tryst this evening in the rear garden. Shaojun: Zhang Qian, how shall I go over there? Zhang Qian: Jump over the wall. (Meixiang turns to Qianjin.) Meixiang: My Lady, he’s going to jump over the wall. Qianjin (sings:) [Coda] Over there the whitewashed wall is low And the blooming thicket dense. Let me tell you, my Liu Chen on the road: Although no stream with fragrant sesame rice flows out, The path is straighter than that to Mount Heavenly Terrace.34 Don’t hesitate,

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Wait till the Dipper turns and moves And don’t let my silken stockings get wet with dew as they press on dark moss! Soon enough we will languidly lean against the Lake Tai rockery, Closing the corner door gently, And this rear garden will become the paradisal stream at Wuling. Shaojun: How undeservedly fortunate I am! This happy turn of events is most extraordinary. I’m only waiting for it to turn dark so I can go to our tryst.35 (Recites:) By happenstance our eyes did meet, With stirred passion our hearts are held in thrall. Tonight I go early to our blessed tryst, to complete What began on horseback and at the garden wall.

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(Lady Li enters with Old Female dressed as Nurse.) Lady Li: I am the wife of Supervisor Li. He was called away by his superiors and hasn’t returned yet. Today I went to the east apartments to visit my aunt and have just come back. I’m not feeling very well. It’s getting quite late. Meixiang, go into the boudoir and tell my daughter not to go out. Nurse, straighten up in front and back; I’m going to take a rest. (Exits.) (Shaojun enters.) Shaojun: I have returned to the post inn to rest and I am feeling rather restless. How could I put my mind to buying flower seedlings? After all the waiting, nightfall is here at last. I’m going to my tryst with the maiden now. (Exits.) (Qianjin enters with Meixiang.) Qianjin: I went today to the rear garden to view the flowers and saw that young man over the wall. Our eyes met and our hearts tangled. So I sent over a note inviting him to come for a meeting this evening. I have returned to my boudoir. Meixiang, I wonder if my mother has gone to sleep yet. Meixiang: I’ll go and see. (Exits.) (Qianjin sleeps. Meixiang wakes her up.) Meixiang: My Lady, My Lady. Qianjin (awakens and speaks:) I was just in the middle of a sweet dream. Meixiang: What were you dreaming about? Qianjin (sings:) [Nanlü mode: One Sprig of Blossoms] The demon of sleep entangled me relentlessly, The sorrow of parting had me in thrall totally,

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And my detached spirit fled with my dream. Oh, when will romance smile on me? Once I saw the fair and gifted youth, My lips spoke of him, And my heart loved him. Truly in the Marriage Registrar it was thus ordained. He’s more romantic than Zhang Chang36 who painted his wife’s eyebrows And more handsome than Pan Yue37 who had fruits thrown to him. Meixiang: He’d better come tonight. The way you keep thinking about him, you’d think he should just materialize in front of you. Qianjin (sings:) [Liangzhou Number Seven] In idleness, I used to complain How the times and fortune were against me. And now added to all that I am heartsick with love Under the baleful influence of the moon at this time of year. (Speaks:) Not to mention me—(sings:) If heaven were to know feelings, it too would be heartsick.38 (Speaks:) Meixiang, what time is it now? Meixiang: This is the afternoon hour of shen.39 Qianjin (sings:) When will the moon emerge from the mountains by the sea? How is it that the sun has not yet turned from this hour? Meixiang: My Lady, the sun has set and the moon and the stars have come out. Qianjin (sings:) I fear the dew will startle the nesting birds And the wind will shake the elms in the courtyard. Look how the River of Heaven glows aslant on the jasper steps Without stirring the finest speck of dust. O Moon, you who were once slender as a bow And are but half a toad,40 Be not bright as a mirror shining on the wide, wide world,41 Nor as icy cold as your own twelve jade terraces.42 By the auspicious smoke from the incense burner I bow deeply to the round moon of union. Give us leave to be, And we will have no obstacles.43 I bow deeply to you, Moon Goddess, for not being jealous of my beauty; Perhaps you might just for a moment be locked in the mist and buried in the clouds! Meixiang: This is going to be difficult!

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Qianjin (sings:) [Sheep-Herding Pass] Wait until the moonlit curtains rustle slightly And the door, welcoming the wind, is ajar:44 Just look how the scene is set for the dalliance of wind and moon.45 Meixiang: How is the scene set? Qianjin: You go and meet him. Meixiang: Are you afraid he won’t come? Fancy sending me to meet him! Qianjin (sings:) Use this wind to send the flowers’ scent, And let the clouds shroud the moon’s radiance.46 Meixiang: Why do you send me to meet him? Qianjin (sings:) You ask me why a maid should go to meet the young handsome one. I only fear that he will be like Zhao Gao who spoiled his mission.47 Meixiang: The way here is as straight as a line. How can he lose his way? Qianjin (sings:) You say the way here is straight as a line; I say the minister’s residence is as unfathomable as the sea.48 Meixiang: You two main players should just do the talking yourselves. Qianjin (sings:) [Scolding the Handsome Lover] Even if one met by the side of a stream flanked with flowers, One must still pass through short alleys and traverse long streets. Meixiang: Once he arrives, I’ll fetch you right away. Qianjin (sings:) Quite unlike a house of pleasure with ladies sporting gold hairpins,49 There is indeed much at stake here. Take hold of your childishness, Restrain your impatience. [Grateful for Imperial Grace] This spacious compound with its many apartments, Its secluded, unfrequented steps, Is nothing like halls for zither playing, Shops for selling wine,50 Or studios for reading books. Meixiang: It’s either too fast or too slow. How do you want me to do it? Qianjin (sings:) Lightly part the emerald bamboos, Tread gently on the moss; Don’t startle the crows in the courtyard

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Or make the dogs in the neighborhood bark, Lest their noise arouse the steward. Meixiang: My Lady, when do you think he’ll come? Qianjin (sings:) [Song for Picking Tea Leaves] Lean upon the whitewashed wall, Unlock the side door. Wait until my mother has finished burning the night incense. The moon is hazy and the sky is dark; Just as the drum sounded, the bugle sadly called out. Meixiang: Let me tell you: your mother is already asleep. She certainly won’t be coming. Nurse is up front this evening keeping watch over the storerooms. When it gets later, I’ll light the lamps and then go to meet your lover. (Pei Shaojun enters leading Zhang Qian.) Shaojun: Zhang Qian, don’t be so jittery. Wait outside the wall. (Shaojun jumps over the wall and spots Meixiang.) Shaojun: Meixiang, I’ve come. Meixiang: I’ll go tell her. My Lady, your lover has come. You two talk together. I’ll keep watch at the door. Shaojun: I’m but a poor scholar, and yet you don’t reject me. Even giving up my life would not suffice to repay my debt to you. Qianjin: Young Master, you must not betray our love. (Sings:) [Coda for the Turning Point] Pretending to put on the kingfisher ornament,51 I cover my forehead. I fear tugging my silken skirt and exposing my embroidered shoes. Hastily I pull the mandarin duck quilt over for cover. Too lazy to take off the emerald headpiece, I press close to the painted screen. It is he who recklessly Unties my scented silken sash. (Nurse enters.) Nurse: This late and someone’s talking in the young mistress’s room! I’ll just listen under the window. Ah, just as I thought—there is someone. I’ll expose them. Meixiang: Mistress, blow out the lamp. The nurse is coming. Nurse: Blow out the lamp! I’ve been listening for some time now. Where are you going? (Shaojun and Qianjin both kneel.) Qianjin: We’ve done it! How can I face my parents? Take pity on me, Nurse. Let the two of us run away, and I’ll not forget you until I die. Nurse: The unmarried girl let someone claim her body and still she wants to go with him! Whose family does this man belong to?

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Shaojun: I am a traveling student from another area. Please forgive me! Nurse: This is not a place for licentious dallying. Qianjin (sings:) [Red Peony] He is on an imperial mission with orders To come here and purchase flower seedlings for a fair price. He isn’t from the Immortal Realm where Fairy Mounts meet Fairy Isles,52 Nor did he climb distant Mount Heavenly Terrace. More dashing he is than the eyebrow painter Zhang Chang Galloping on his dark steed through all the streets of Zhangtai.53 Nurse: This is all because that little slave, Meixiang, tempted you by acting as go-between. Qianjin (sings:) You wrongly rebuked her for bearing tender messages as go-between; For nothing you have shamed her to her face like that.54 Nurse: Who is to blame if not this little slave? Qianjin (sings:) [Bodhisattva Liangzhou] It was this girl who threw fruit over the wall And that reckless stranger who shook his whip on horseback. Let me tell you, my nurse who’s nobody’s fool: The courier of our spring passion was looks that came and went! Nurse: Fine, fine, but aren’t you ashamed! Looks that came and went! You sound like real adulterers and thieves! I’ll turn you over to the authorities for a reckoning. Qianjin (sings:) Seeing how this woman is perversely implacable, I am willing to forfeit my life to repay this lovers’ debt. But I plan for success, not failure! Stop being angry for now, I’ll reform later. How can you have us arrested as adulterers and thieves? Nurse: What do you see in this poor, insipid student? Qianjin (sings:) [Sheep-Herding Pass] Dragon kings and tiger princes have taken scholars as sons-in-law, And fairy maidens, too, have been affianced to talented youths. How much more so for us mortal born! Liu Xiang brought down the Western Peak Temple by inscribing a poem,55 And Zhang Sheng heated the great Eastern Sea till it boiled.56 I was about to have a feast at Jasper Pool for my Seventh Night Tryst When the waters of the Heavenly River pulled us asunder! Truly this maiden at the edge of the Magpie Bridge57 Cannot give up the one by the Bovine Dipper Star!58

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Nurse: Let’s not bring out the family skeleton for all to see. And as for you, rascal, I’m going to drag you to the authorities, and don’t think they’re going to let you go unpunished! Shaojun: Nurse, your took the money I use for buying flower seedlings and had Meixiang send for me here. I’ll go with you to the authorities. Qianjin (sings:) [Third to Last Coda] You’re not willing to just sweep the whole thing under a brocade coverlet.59 Can’t you see it will be another Battle of Gaixia in front of Nine-Mile Mountain?60 And blood in the boudoir will soak my remains: I will untie this sash and take this dress knife—61 If you push me to the limit, I will inflict harm on myself, Turn the facts around and let you bear the blame. Meixiang: You wanted this young scholar’s money and sent me to go fetch him. If the mistress confronted us, that’s what we would say. Nurse: The lady of the house won’t believe it. Qianjin: (sings:) You’re just dropping the child you picked up by the wayside—what do you care?62 You want to kill me and take the money too! [Penultimate Coda] How can I be willing to wait, with a tear-ravaged face, Planted next to the door, my hands holding my hands? With all the mountains and rivers in his way, when would he come again? Why speak of years and years, When this one night of love is undone?63 What will remain? The monk or his begging bowl?64 For with his erudition and literary talent,65 He will surely make his way up, day by day climbing the thousand steps. Nurse: Family is family. If the mistress, however outraged she may be initially, changes her mind, I will be giving up this old life of mine in vain. I’ll settle the matter with you now and give you two choices: The first is to send off this student to seek office and then come back to marry you, and if he doesn’t succeed, you may marry someone else. The second is to let the two of you run away tonight. When and if this student gets an official position, then he may return and present himself before his parents-in-law. Qianjin: Nurse, the better plan is for us to go away. (Sings:) [Huangzhong Coda] When he plucks a cassia branch, all the other scholars will be amazed.66 How could he visit a vermilion gate and find it closed nine times out of ten?

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Nurse: If word gets out, it will wreck your future and split up a happy couple all for naught. As the saying goes, “Serving a master for but one year, one remains a slave for a hundred years.” I’m taking a risk in letting you go. Just be sure that you are careful when you’re on the road. Qianjin: My mother is getting on in years. How can I bear to leave her? Nurse: You mother has me here to take care of her. Leave with your mind at ease. (Qianjin and Shaojun thank her.) Qianjin (sings:) It’s not that I dare to be wanton and wicked, But he has such charm and such cleverness. You too can make the happy ending and resolve conflicts; I, for my part, will be willing to wait and accommodate.67 Equally absent is a girl locked in an empty room Or married to a man from another region. You can say that the parents are getting on in years— But since when does a daughter stay with her parents until her hair turns gray? Daughters are only guests who stay with you for fifteen years! (Qianjin exits with Shaojun and Meixiang.) Nurse: They’ve left. When the mistress asks, I’ll lie and say I don’t know how she came to leave. I expect that the lady won’t dare to bandy it about. Wait till he comes back later to present himself before his in-laws—it wouldn’t be too late! (Exits.)

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Minister Pei:68 It has now been seven years since Shaojun came back from his trip to buy flower seedlings in Luoyang. I often have official business, so for the most part have been rarely at home. I take delight in Shaojun for his great aspirations. Every day he does nothing but study in the rear garden.69 Only when he achieves success will he take a wife. Today is Tomb-Sweeping Day, and I was going to go myself to the graves, but because I am fearful of the wind and cold, I am having my wife and Shaojun go to offer sacrifices to the ancestors in my place. (Exits.) (Shaojun enters leading Steward.) Shaojun: It’s been seven years since Qianjin and I left Luoyang and came to Chang’an. We have two children: the little boy is called Duanduan and the girl is called Chongyang. Duanduan is six and Chongyang is four. They hide in the rear garden and have never paid their respects to my parents. The steward takes care of everything for them; even the servants in the house don’t know about this. Today is Tomb-Sweeping Day and because my father is afraid of the wind and cold, my mother and I are going

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outside the city to the family tombs to offer sacrifices. Steward, keep careful watch lest my father come upon them. Steward: Young Master, “serving a master for but one year, one remains a slave for a hundred.” In this household who would dare to mention the word “Li”? If anything goes wrong, I will be like Ling Zhe helping the single-wheeled carriage along when disaster overtook Zhao Dun,70 or like Wang Bodang whose corpse was piled with that of his master Li Mi when their insurrection failed.71 Loyalty has to go all the way. Never mind that the old master will not come, but even if he comes, I will make him turn back with my formidable powers of persuasion. I am a veritable Kuai Tong or Li Zuoche.72 Rest assured, Young Master. You can count on me—not a single drop will leak from this endless bank of water. Shaojun: If there are no slipups, when I return home I’ll reward you well. (Exits.) (Qianjin enters leading Duanduan and Chongyang.) Qianjin: It has been some seven years now since I came here following the young master. We have two children. How time flies! (Sings:) [Shuangdiao mode: Song of New Water] All these years pass just like Zhuang Zhou’s butterfly dream,73 How did all these fine days and lovely nights slip away? To think that my parents are so far away, beyond mountains and passes, And all messages and missives are cut off. Why do I sigh and feel frustrated? It’s because I wonder when I shall be able to leave this study. [Stop the Horse and Listen] With his talent and distinction, He should easily ascend the double phoenix gates of the dragon court; His wife, chaste and true, Should be bestowed noble title and scented carriage too. That will be better than the bride, her head decked with flowers,74 Welcoming the top graduate at the imperial gate, Better than putting on the ground sweeping red cape, As back and forth matchmakers and gifts make their way.75 Now we have the show differently billed So that a truly fine romance could be fulfilled! (Speaks:) I’ll close this door and see who is coming here. Steward (enters holding a broom:) The young master has gone to offer sacrifices. I should go and tell the mistress. (Greets Qianjin:) The young master has gone to offer sacrifices. I have come specially to tell you. Qianjin: Steward, you must be alert. I’m afraid His Honor will come upon us. Steward: May I presume to mention something? Today is Tomb-Sweeping Day. Are there any holiday treats that you can give me so I can eat my fill? I’ll just sit by the gate to see who is coming.

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(Qianjin gives him meat and wine. He eats and speaks:) Last night the two young ones broke off some flowers on the wall. Don’t have them come out today. Have them play in the study. I fear His Honor will come upon them. Qianjin (sings:) [Fake Cards] You should bar them from what should be barred.76 I thank you, steward. Yesterday the thorns ripped their sleeves and Scratched their fingertips. Duanduan: Mother, I’m going to meet Father. Qianjin: He hasn’t come home yet. (Sings:) [Same tune as above] Just toss aside the flower stick,77 And pay no heed to the flagon vase. It’s not yet time for your father to come home. Why do you insist on going to meet him? Steward: I have come to the gate, drunk a bottle of wine, and eaten a portion of the holiday food. I feel a spell of drowsiness. I’ll rest against this rockery and sleep for a while. (Duanduan strikes him.) You scared me to death, Young Master. Go play in the study if you must play. (Sleeps again and Chongyang strikes him.) Young lady, how could a little girl be so nasty? (Sleeps again and both children strike him.) I’m going to tell on you! Hurry on into the study. (Minister Pei enters leading Zhang Qian.) Minister Pei: My wife and Shaojun have gone to offer ancestral sacrifices. I’m feeling out of sorts, so I’m going to stroll a bit in the rear garden and have a look at the essays my son wrote. (Sees Steward.) The old fellow’s asleep. (Minister Pei strikes Steward, who wakes up and strikes out with his broom.) Steward: I’ll thrash you, you little scamps. (Sees Minister and is frightened.) Minister Pei: Whose children are these? Duanduan: The Pei family’s. Minister Pei: Which Pei family? Chongyang: Why, Minister Pei’s family. Steward: Of course this is the garden of Minister Pei’s family. Haven’t you little rogues left yet? Chongyang: I’m going to tell my mommy and daddy. Steward: You kids pick our flowers and have the nerve to say you’re going to tell your mommy and daddy. Provoke your elders and you’ll get it!

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(The two children run, Steward speaks:) The two of you, if you don’t go forward, then go to the back. (The two children see their mother.) Children: We were both going to meet Father when we saw an old man who asked whose family we belonged to. Qianjin: Children, I told you not to go out. What shall I do now? (Minister Pei thinks.) Minister Pei: Those two children are not from any ordinary family. The old fellow is trying to put something over on me. I’m going to the hall and think this over. Qianjin (sings:) [Bean Leaves] You didn’t meet your father But ran into your grandfather. My spirit disperses and my soul melts, My vital organs are churning and feverish. My hands and feet are spastic: it’s too late to go. The old gentleman holds his cane, deep in thought, The steward holds his broom and tries to be evasive, And the children are tugging my sleeves. Minister Pei: Let’s go into my study. (Minister Pei, Qianjin, Steward, and Zhang Qian go into the study and Qianjin closes the door.) And who is this woman? Steward: This woman picked our flowers and is hiding in this room. Qianjin (sings:) [Hanging Jade Hook] You little brats, close the door a bit. It’s just terrible the way you turn heaven and earth upside down. The old master has personally come upon you in the garden— I am so utterly terrified that words are failing me. Minister Pei: Bring her to the Lotus Pavilion. Qianjin (sings:) I am flushed with shame, My heart is thumping with fear. I pant like the rumble of thunder; Panic seizes me like a churning windmill. Steward: This woman picked two flowers and, fearing that you would discover her, hid here. You should forgive her and send her home. Qianjin: Venerable sir, take pity on me. I am Shaojun’s wife. Minister Pei: Who was the matchmaker? How much dowry was given? Who was in charge of the ceremonies?

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(Qianjin bows her head.) Whose children are these two? Steward: Your Honor should be happy, not angry. Without expending any betrothal gifts, you have obtained this flower of a beautiful daughter-in-law and this fine pair of grandchildren. We should have a great feast. I’ll go buy a sheep. Lady, please go into the study. Minister Pei (speaks angrily:) This woman must be from a brothel or a tavern. Qianjin: I am the daughter of an official, not a debased person. Minister Pei: Shut up! When a woman elopes with a man and has illicit relations with him, such transgression can’t be forgiven even when there’s an amnesty. I’ll send you to the authorities and see. They’ll beat you and break you. Qianjin (sings:) [Buy Good Wine] Originally I was a beauty from a fine family, Now I am going to stand accused, Summoned to court, And sent to the authorities to be tortured. People’s hearts are not forged in iron: “Such transgression can’t forgiven even when there’s an amnesty!” [Peacetime Song] In following my man, how can I speak of purity and chastity? In investigating our adultery, they will use rods and cangues. Who is familiar with song stages and dance halls? And why talk about teahouses and taverns? Even if Your Honor has this humble maid Beaten and broken in half, Still this is no dalliance in a house of pleasure. Minister Pei: I’ll thrash this old fellow. He knew all about it. Zhang Qian: This old fellow has always known how to seduce the old and lead the young astray. Steward: Your Honor, seven years ago when the young master went to buy flower seedlings, it was this chap who played all sorts of tricks and egged the young master on to take the lady. Zhang Qian: The old fellow has dragged me into this! Minister Pei: You’re right. I’ll bet this rascal knew too. Qianjin (sings:) [Paddling on the River] He said he was a rival of Ling Zhe, Kuai Tong, And Li Zuoche. But now he is not like Ji Bu with his integrity of word,78

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Or like Wang Bodang and Li Mi whose corpses were piled together. Even as you face others, your words should be the same as those uttered behind their backs! The line between right and wrong has to be made clear! Minister Pei: Call my wife and Shaojun. (Lady Pei and Shaojun enter; Minister Pei greets them.) You and your son have been in league to trick me and wreck our family rules and regulations. Lady Pei: My Lord, how could I have known anything about it? Minister Pei: So this is what you’ve worked on for seven years in the rear garden! I’ll send you to the authorities and have them proceed according to law. You slut, not only did you ruin Shaojun’s future, you have brought shame on his ancestors! Shaojun: I am the son of a high minister. How can I be shamed in court for the sake of a woman? I would rather write a bill of divorce and that’ll be the end of it. Father, please forgive me. Qianjin (sings:) [Seven Brothers] What violence! I grieve and lament how The times and fortune go against me as I suffer torment. Pure as ice and jade, how could I bear to follow the deviant way?79 Why do you tear up the knot of shared fate and lasting union?80 How can you bear to split apart our knot of entwined branches and loving hearts? Minister Pei: I am like the Duke of Zhou with eight glorious achievements, and my wife is like Mencius’s mother who moved thrice to educate her son.81 It is all because of you, you dissolute woman, that our Shaojun’s future is wrecked and the Pei ancestors disgraced. Listen, woman: Since you are the daughter of an official, how is it that you came to elope? In the old days, when Wuyan was picking mulberry leaves in the fields, the King of Qi passed by in a carriage and saw her. He wanted to take her as his queen and have her ride in the same carriage, but Wuyan said, “This will not do. I must inform my parents before we can marry. If we do not first see my parents, this will be an elopement.”82 Pshaw! Compared to Wuyan, you are a wrecker of morals. You’ve proven the saying, “The man wanders through nine counties and the woman marries three husbands.” Qianjin: I have but one, and that’s Shaojun. Minister Pei (angrily:) Haven’t you heard? “The woman aspires to faithfulness and chastity, while the man follows the example of talent and virtue.”83 “By betrothal you become a wife; by elopement you become a concubine.”84 Will you still not return to your own home? Qianjin: Our match was a gift from heaven.

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Minister Pei: Wife, take off your jade hairpin. If your match was indeed a gift from heaven, then we will test it by divination. File the jade hairpin on this stone until it becomes as fine as a needle. If it doesn’t break, then that means your match is a gift from heaven. If it breaks, then you return home. Qianjin (sings:) [Plum Blossom Wine] He is ruthless and vicious, And my husband is weak and useless. The old gentleman is loathsome in his brutality, The old lady hisses with a scorpion’s sting: “Why don’t you go and transform into the Rock of a Pining Wife85 Or have yourself glorified in a stele for burying your parents-in-law?”86 All you have done is distress me: Ten thousand threads of sorrow, A thousand layers of discontent Confuse my heart, Numb my feelings. My eyes seem sightless, My hands may as well be crippled. Gingerly I pick up the jade hairpin, Slowly I hold and grind it. [Conquering the Southland] Alas, with a clink it breaks into pieces. Even phoenix glue87 could not mend the broken jade hairpin! It’s only that husband and wife, mother and children must part. It’s all because my evil karma has caught up with me! Still it’s better than the shen and chen stars, or the sun and the moon whose paths never cross.88 Minister Pei: Can’t you see that the jade hairpin has broken? Are you still not willing to return home? Bring a silver pitcher. Tie this wispy thread to it and use it to fetch water from the golden well. If it doesn’t break, then you are man and wife. If the pitcher falls just like the hairpin breaks, then you must go home. Qianjin: What shall I do? (Sings:) [Wild Geese Alight] It’s as if I had fallen into a mantrap ten thousand feet deep, It’s more devastating than roiling waves piling a thousand heaps of snow.89 Just a moment ago I ruined the jade hairpin grinding it on the stone, Now he wants me to fish for the bright moon from the depths of water. [Victory Song] If the icy string snaps,90 Love is cut off.

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If the silver pitcher falls, We must part forever. Our little family will be torn asunder. Minister Pei: Go and marry whomever you please. Qianjin (sings:) How do you expect two wheels to make four ruts?91 The dissolute, licentious, and wicked— Those guilty of the seven grounds for divorce should be expelled,92 As for the right to enjoy wealth and fortune, For upholding the three compliances, who can compare to me?93 Minister Pei: Since the hairpin broke and the pitcher fell, that means that heaven wants you two to separate. Let this wretch give you a bill of divorce; then I want you to return home. Shaojun, get together your zither, sword, and book box and go this very day to court to take the examinations. Have this boy and girl remain here at our house. Zhang Qian, drive her out of our house. (Exits.) (Shaojun gives Qianjin the bill of divorcement.) Qianjin: Shaojun, Duanduan, and Chongyang, this pain will be the end of me! (Sings:) [Intoxicated by the East Wind]94 My dream of love’s myriad knots is rudely shattered, The road is far, a thousandfold of mist and waters. As the saying goes, “A real mother will give you a stepfather;95 No real mother, and none would bother.” He wants to drag me to court To show off his lofty principles. I thank you for watching over my young daughter and artless son As I leave with wrenching, leaden steps. (Speaks:) Duanduan and Chongyang, my children, you must act grown-up a bit now. I won’t be able to see you anymore. (Sings:) [Song of Sweet Water] Duanduan and Chongyang Are shoots of your Pei family tree. Children! They are bawling in shock, This is none other than the mother-child tie that tugs and pulls— How can this pain not kill me! [Song of Breaking a Cassia Branch] True it is, then, that separation is life’s most bitter thing. Only now do I believe that “when the flowers bloom, the wind tosses them; When the moon is full, the clouds cover it.” Who still dares to soar and tangle like phoenixes in love? That will provoke the wasps and goad the scorpions. Beat the grass and the snake will be startled! You have spoiled the messages of love that we passed over the wall,

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Torn apart the oriole and swallow, the bee and butterfly in the willow shade. My son wails and my daughter tries to stop me. Since the pitcher fell and the hairpin broke, Our ties are cut; all love is lost! Zhang Qian: Go now, mistress, the old gentleman ordered me to report back to him. Qianjin: Shaojun, you ought to at least send me off and see that I return home. (Sings:) [Mandarin Ducks Coda] Hold no rancor, bear no grudge against me for being like wilted flowers and broken willows,96 I bore a son and a daughter with you; all karmic debts are paid up! I had hoped that in this life one coverlet we share, And in death one grave be our common fare. Songs tell of the poet who inscribes the pillar with grand aspirations, And of his lady who defies hardships as vendor of wine.97 For our love is due to predestination And is the karma of the present life. Oh, Shaojun, In vain have I ridden with you in the scented carriage: Send off now this Wenjun that is anything but proud and spirited! (Exits.) Shaojun: Father, how could you do this? In one instant you have separated husband and wife, parents and children. What should I do? Zhang Qian, go and put my zither, sword, and book box in order. I am going to court and take the examinations.98 On the other hand, though, I am going to accompany Qianjin home without father’s knowledge. I expect there won’t be anything wrong with that. (Recites:) Indeed: She ground a jade hairpin on a stone; About to take shape, it snapped in the middle. She drew the silver pitcher from the bottom of the well; About to come up, its silken string broke. In both cases, what is to be done? It’s just like how we bid farewell today.99 Truly if we have a heaven-made affinity, Then in the end we shall reunite as fruit and vine.100

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(Qianjin enters leading Meixiang.) Qianjin: When Pei Shaojun divorced me, I returned to Luoyang. Since then both of my parents have died, leaving behind several servants, the family residence, and some land. As in the past, I am enjoying more wealth than I can spend. It’s only that I had

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to leave behind my son and daughter, and I don’t know whether Shaojun obtained an official position when he went to take the examinations. How sad it is! (Sings:) [Zhonglü mode: Powdered Butterflies] The curtains with their delicate fringes101 are rolled up, How cold and forlorn are the green window and vermilion door. How dreary is my lone existence! Indeed I long for the children—my golden cangue And jade lock In that prison of romance.102 (The sound of a bird’s call outside.) Who told you to fly away from Ba and Shu,103 Calling to the departed one, “Better go back!”104 [Intoxicating Spring Wind] With home a thousand miles away, I dream of butterflies. As the moon rises to third watch, I hear the cuckoo.105 A chance meeting on horseback and over the wall started the bliss— How could I have known this would end in so much sorrow? All this talk of a hundred charms, a thousand graces Led us to be parted hither and thither, With things mixed up this way and that. Shaojun (enters and recites:) Holding up the imperial edict, I left the palace gates. Passers-by vied to make out my piebald steed. I reckon such is the success that my writing creates— Perchance the family may claim no merit for any good deed.106 I am Pei Shaojun. After I went to court to take the examinations and in one stroke achieved first place, I was appointed to the position of prefect at Luoyang and have come here to the city of Luoyang. Let me change my clothes and look for my Li Qianjin. . . . I’ve asked someone and this is the gate of Supervisor Li’s residence. Isn’t that Meixiang? Is your mistress at home?107 Meixiang (sees Shaojun:) I’ll pretend not to know. What mistress do we have here? This fellow doesn’t know what’s what. Just stand here and I’ll go back into the house. (Meixiang sees Qianjin.) You’ll be pleased. Your husband is at the gate. Qianjin: This girl is raving again. Was it really him? Did you see what kind of clothes he was wearing? Meixiang: He was wearing the clothes of a licentiate scholar.108 Really, Mistress, I’m not lying. Qianjin: Why would he be wearing the clothes of a licentiate? (Sings:) [Fragrance Fills the Courtyard] After he took the examination at Chang’an, He was ashamed to return to his native place

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And was reluctant to see his own hometown. That heaven-spinning109 mouth of his spits out pearls and jades, None but learned “thus,” “inasmuch,” “such and such.” Those truth-attaining110 hands of his could fashion fingerprints,111 Having read five cartloads of books, he knew how to write a divorce bill.112 Tell the Master of the Study not to inscribe the pillars:113 I expect that others might have some complaints. Wouldn’t this make Xiangru of Han die of laughter? Shaojun: Meixiang went in but hasn’t come out yet. I’ll go in myself. (He greets Qianjin.) I hope you have been well since we parted. Today I have come looking for you— let us renew our love as in time past and become man and wife again. Qianjin: Pei Shaojun, what are you saying? (Sings:) [Joy All Over the World] You want to bind intimacy and love, But I fear being battered by the law in prison. My all-too-human heart is like iron, While the judge’s law burns like a furnace. Your mother has none of a mother’s love for her children; How could your father be willing to pity and care for me? I have asked questions until Master Liuxia Hui is tongue-tied:114 Your father said I wasn’t virtuous or sensible and wrecked morals. How he went on and on about how a family should not have two heads!115 How this was “like a man roaming through nine counties, Like a woman marrying three husbands!” Shaojun: Now I’ve received an official appointment. My father is living in retirement. I’ve come especially to take you back into the family. I am now the prefect of this place. Qianjin (sings:) [Welcoming the Immortal] You have been appointed a high-ranking official And can display the ornate patterns of spiral-shaped ornaments.116 Your father has retired from office and left the capital city. The Ministry of Appointments has determined his removal, The Ministry of Revenue has cut off his emoluments. In vain was he given the title of minister from afar— He should have been put in charge of the Marriage Registrar!117 Shaojun: I’ll move my belongings here today. Qianjin: You can’t stay here. (Sings:) [Pomegranate Blossoms] As the saying goes, “A good guest is not as good as no guest.” What if I throw you out?

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How can I quell the rancor in my heart? Just think for yourself: How could you have betrayed one so blameless? You are an official already, how can you be so shameless? Shaojun: You and I have been husband and wife since our youth. How could you not accept me? Qianjin (sings:) You said that I don’t distinguish between ties distant and close. I say although the pearls of wisdom118 are missing from your eyes, You should still be able to somewhat separate the worthy from the foolish.119 Shaojun: Those were my father’s orders. They had nothing to do with me. Qianjin (sings:) [Fighting Partridges] One is the Duke of Zhou with eight glorious achievements, One is the mother of Mencius who moved thrice to educate her son. I am the child of a good family, Not a woman from a whorehouse. I was but one who dallied with the spring breeze, looking to the summer rain. But if we were to become man and wife, It would “wreck Shaojun’s future in vain And bring disgrace upon the Pei ancestors.” Shaojun: You are intelligent and educated. Haven’t you heard, “Even when a son gets along well with his wife, if his parents don’t like her, then he should divorce her. Even if he doesn’t get along with his wife and his parents say, ‘She serves us well,’ then he should uphold the ritual propriety between husband and wife indefatigably for the rest of his life.”120 Qianjin: Pei Shaojun, you are not one who understands. Listen and I’ll tell you. (Sings:) [Ascending a Small Tower] Your mother has always been vicious, Your father, perversely jealous.121 In administering the realm he was loyal and upright, In his personal conduct he was honest and capable. How then could he act in such a benighted way? Anyone would be grateful indeed for a mating of phoenixes With zither and lute in harmony— For husband and wife who are in happy accord. None would be like your Minister Pei who, on his son’s behalf, rejects the wife. (Minister Pei enters leading his wife, Duanduan, and Chongyang.) Minister Pei: I am Minister Pei. I asked someone and they told me this was the residence of Supervisor Li. I heard that my son, Shaojun, has received an official position here as prefect and that my daughter-in-law won’t take him back. I’ve brought the

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two children and my wife. We are here already. Attendants, announce me saying that Minister Pei is at the gate. (A servant announces him.) Shaojun: Ah, my father is here. I’ll go to greet him. Father, your son has received an official post and has been appointed the prefect here. Your daughter-in-law won’t take me back, saying I had divorced her earlier. Minister Pei: Where is my child? (Greets Qianjin:) Child, who could have known that you were the daughter of Li Shijie? Previously I had discussed marriage with him. How could I have known that you secretly fulfilled a destined union? Why didn’t you tell me that you were Li Shijie’s daughter? You are his daughter, but I thought you were the daughter of a harlot or entertainer. Today I have brought the two children, carrying a lamb and some wine, to come straightway to beg your forgiveness. I was wrong. Attendants, bring in the wine. Drink this full cup. Qianjin (sings:) [Same tune as above] So just because he lifts the wine cup up high, I am to agree to accept his son. Lady Pei: Do it for my sake. See how big these children have grown under my care. Please acknowledge us. Duanduan and Chongyang: Please acknowledge us, Mother. Qianjin (sings:) Truly have I endured hardship like Tao Kan’s mother;122 He was like Zeng Shen wrongly blamed.123 The grand patriarch made sure his will prevailed.124 A son, A daughter, Both are wailing at the same time. (Speaks:) Oh, children, how much I have longed for you! (Sings:) It must be that I can’t sever the bond between mother and child. Minister Pei: Alas! You should acknowledge me! Qianjin: You had me divorced. I will absolutely not acknowledge you. Minister Pei: Since you won’t acknowledge us, we’ll take the children back home. (Duanduan and Chongyang wail.) Duanduan and Chongyang: Mother, you are so hard-hearted! You are killing us with the pain! If you won’t acknowledge us, why would we still want to live? We may as well die! Qianjin: I was about to refuse to acknowledge them . . . But it has nothing to do with you two . . . Oh, I give up! I give up! I’ll acknowledge you. Father, Mother, receive these bows from your daughter-in-law. Minister Pei: Since the child accepts us, bring the wine and I’ll celebrate for you. Drink this full cup.

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Qianjin (makes obeisance and accepts the wine, sings:) [Twelfth Month] This is your daughter-in-law who had come unbidden; Today she makes obeisance to her father- and mother-in-law. What do you mean by lifting up the goblet and holding a cup? I yet fear that you may be devising schemes. All of a sudden I see the jade hairpin and the silver pitcher— I cannot help but think of the past.125 [Song of Yao’s People] Alas! I only fear that the hairpin will break, the pitcher will fall, and you will write another bill of divorcement. Minister Pei: Child, let’s not bring up the past. Qianjin (sings:) There he is, all humble solicitation, urging me to drink some fragrant wine; Taking a cup and drinking it all, I let intoxication erase clarity. Shaojun: You should be happy. Qianjin (sings:) How can I have the heart to laugh and be happy? Filled with hesitation, Like a thief whose courage runs shallow too soon, I still fear you will drive me out again. Minister Pei: Child, wouldn’t it have been better if you had waited for me to seek your hand in marriage for my son? Instead, unbeknownst to me, you eloped and came into my house, and you didn’t say you were the daughter of Li Shijie. Qianjin: Father, has your daughter-in-law been the only one in history to have eloped? (Sings:) [Teasing Children] Mother and Father, let me explain:126 It’s not that I use our family disgrace to compare the past and the present, But noble Zhuo had the grand spirit to sweep the rivers and the lakes, And his daughter Zhuo Wenjun had a beauty beyond compare.127 For a moment she secretly listened to the song “Phoenix Seeking Mate,” And the day came when she rode with him in a four-horse carriage. That, too, was her blessing from predestined karma. How then can you say that the love forged on horseback and over the wall Is anything lesser than Zhuo Wenjun selling wine at the counter? [Coda] Today a five-colored noble edict indeed fulfills a promise, And the seven-scented carriage is ours to take with laughter and gladness. I wish that all those destined to marry in the world could come together: Grateful to our illustrious ruler, may he reign myriad years!

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Minister Pei: Today man and wife are reunited. Slaughter a lamb and bring wine. Let us have a celebratory feast.128 (Recites:) It’s been said, “A grown-up daughter cannot long be kept.” The courtship on horseback and over the wall is fair to accept.129 All it needs is for there to be a heaven-made match— Why must we insist on a mate chosen from atop a decorated tower?130

Topic: Li Qianjin Under the Moon and Before the Flowers131 Title: Pei Shaojun on Horseback at the Garden Wall

n ot es 1. The full title of the play is Dong Xiuying by the Flowers and Under the Moon: The Story of the Eastern Wall (Dong Xiuying huayue dong qiangji 董秀英花月東牆記). 2. Whereas the male and female protagonists and the maid divide the arias in The Eastern Wall, Li Qianjin is the only singer in this play. 3. Bai Juyi, Bai Juyi ji, 1:85. 4. That is, she changes into the hairstyle of a married woman. 5. According to Shiji 117, the newly widowed Zhuo Wenjun is drawn by the qin (a kind of horizontal lute) playing of Sima Xiangru and elopes with him. The impoverished couple become wine vendors, and Zhuo Wenjun’s rich father is so embarrassed that he feels compelled to help them financially. Sima Xiangru eventually becomes a renowned court poet. 6. See Zang Maoxun, YQX, 2:968–1005; Zhao Qimei, Maiwang guan chaojiao gujin zaju no. 29; Meng Chengshun, Xin juan gujin mingju liuzhi ji, 346–59. 7. Literally, “I have the talent to compose poems as I walk seven paces.” The allusion is to the story of Cao Zhi (192–232), whose brother, Cao Pi, demands that Cao Zhi compose a poem while walking seven steps; Cao Zhi responds with a poem lamenting fraternal strife that moves Cao Pi to relent (Liu Yiqing, Shishuo xinyu jianshu 4.66). 8. This is the fragrance of the imperial incense burners. Pei is implicitly celebrating his august position at court. 9. The historical Pei Xingjian 裴行儉 (619–682) was a high official during the early Tang. 10. Gaozong reigned 676–679. The third year of the Yifeng era was 678. 11. There was a so-called fair market (heshi 和市) system during the Tang whereby the government purchased goods at a “fair,” or, in effect, lower price. 12. The name Shaojun means “young and handsome.” 13. On the famous Han general Li Guang (d. 119 b.c.e.), see Shiji 109. Li Guang hailed from Chengji in Longxi (present-day Tai’an county in Gansu province), as did the founding Tang emperor Li Yuan. 14. Ancient Masters and Willow Branch: Supervisor Li’s self-introduction begins with four lines of verse: “Drying my clothes on the flowers, I find the sun lacking in luster. / Washing my feet in the pond, I

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regret the smell of fish. / A scion of lords and officials, luxuriant as flowers in bloom, / A descendant of generals and ministers, a man of valor who takes his rightful place in court.” Wu Zetian (624–705), popularly known as Empress Wu, became the wife of Emperor Gaozong in 665 and soon began influencing policy. Gaozong died in 683, and in 690 Wu Zetian declared herself empress of her own dynasty (Zhou). In Ancient Masters, there is no hint that the match is called off because of Li’s demotion. Li ends his speech as follows: “They should take care to stay within the limits of the inner quarters. Their conduct is to be pure and irreproachable, and they should not provoke any idle chatter.” This was a spring festival that involved rites of purgation by rivers and streams. Literally, “Penglai,” a fairy mountain in the sea; see Yuan Ke, Shanhai jing jiaozhu 12.324. Zhuo Wenjun, who eloped with the Han poet Sima Xiangru, was said to have eyebrows that evoke distant mountains (Xijing zaji, 88). Zhuo Wenjun’s story is a refrain throughout the play. The Han official Zhang Chang was famous for painting his wife’s eyebrows; see Hanshu 76.3222. Li Qianjin’s name means “a thousand pieces of gold.” In a late-Tang tale, “The Soul Leaves the Body” (Lihun ji 離魂記) by Chen Xuanyou 陳玄佑 (eighth century), the soul of a young woman, Qianniang, leaves her body to follow her lover (Taiping guangji 358.2831–32). Zheng Guangzu’s 鄭光祖 famous play, Dazed Behind the Green Ring Lattice, Qiannü’s Soul Leaves Her Body (Mi qingsuo qiannü lihun 迷青瑣倩女離魂) (thirteenth–fourteenth centuries), is based on this story. Wilt Idema and Stephen West give a translation of this play in Monks, 195–236. The celestial lovers, Weaving Maid Star and the Herd Boy Star, meet on the seventh night of the seventh month (the so-called Double Seventh festival). Xiangqun 湘裙, a skirt woven from the silk in the Xiang area, is also sometimes associated with the goddess of the River Xiang, as in the following lines by Li Qunyu (ninth century): “Her skirt sweeps six spans of the Xiang River, / Her chignon ties up a stretch of clouds over Mount Wu” (Qun tuo liufu Xiangjiangshui Ji wan Wushan yiduanyun 裙拖六幅湘江水，髻挽巫山一段雲). See Li Qunyu, Li Qunyu shiji, 105. Zhuangzi jishi 22.746, “Knowledge Wanders North” (Zhi bei you 知北游): “Human life between heaven and earth is like a white horse passing through a crack. It is but a sudden moment.” See Li He 李賀 (790–816), “Peach blossoms flutter down furiously like red rain” (Taohua luanluo ru hongyu 桃花亂落如紅雨), in Li He shige jizhu, 313. Willow leaves are compared to eyebrows; the moth’s fine and curved antennae become the standard kenning for a woman’s eyebrows. The god of spring. Luoyang was famous for its gardens; see Li Gefei 李格非 (d. 1101), “Postscript to The Famous Gardens of Luoyang” (Shu Luoyang mingyuan ji hou 書《洛陽名園記》後). Li Gefei’s essay is anthologized in Wu Chucai and Wu Diaogong, Guwen guanzhi 9.524–25. Ancient Masters: “Apricot blossoms in one shade carry my thoughts a thousand miles; / His handsome face and airs put him high above the common run of men.” Willow Branch: “Indeed, apricot blossoms blaze pink for a thousand miles; / His handsome face and airs put him high above the common run of men.” Ancient Masters and Willow Branch: Shaojun’s speech is longer. He quotes the Classic of Poetry (Mao 57): “Her dainty smile is lovely, / Her beautiful eyes gaze at me.” He also compares her to the immortal Xu Feiqiong and the Moon Goddess. “Red waves churning the coverlet” (beifan honglang 被翻紅浪) is a standard expression for sexual ardor. “Ground as mat, heaven as curtain” (xidi mutian 席地幕天) describes revelry in the open.

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33. On the story of Liu Chen, Ruan Zhao, and their encounter with goddesses, see chap. 7, this volume, n. 90. 34. Mount Heavenly Terrace (Tiantai Shan) is where Liu Chen and Ruan Zhao get lost; “sesame rice” is what the goddesses regale them with. See Liu Yiqing, Youming lu, 697–98. 35. In Ancient Masters and Willow Branch, act 1 ends with this line. There is no verse following. 36. On the Han official Zhang Chang, see n. 19, this chap. 37. On Pan Yue, see chap. 7, this volume, n. 82. 38. This is derived from Li He’s line “If heaven had feelings, it too would grow old” (Tian ruo youqing tian yi lao 天若有情天亦老); see Li He shige jizhu, 94. 39. Between 3:00 p.m. and 5:00 p.m. 40. Legend has it that a divine toad lives on the moon. 41. Literally, “the three thousand worlds,” a Buddhist term referring to myriad possible worlds. 42. On the cold jade terraces of the immortals, see chap. 5, this volume, n. 72. 43. The term fangbian 方便, here translated as “give us leave to be,” is often rendered as “expediency.” “Having no obstacles (to enlightenment)” is our translation of wu’ai 無礙; both are common terms in Buddhist sutras. 44. This line appears in the poem Yingying sends to her lover in The Western Chamber. 45. The compound “wind and moon” (fengyue 風月) also means “amorous exploits.” 46. Qianjin is still playing with the associations of wind and moon. The wind will be the messenger of love, while the moon, tactfully hidden, will protect the lovers from exposure. 47. The text has “Zhao Gao sending off Zeng Ai.” Most commentators agree that Zhao Gao is a variant of Zhao Qiao (Zhao the Clever), a conceited disciple of the master craftsman Lu Ban. Song Zeng Ai 送曾 哀 (sending off Zeng Ai) is derived from song dengtai 送燈臺 (sending the candle stand). Sent by Lu Ban to the dragon king of the seas with a candle stand designed to awe the dragon king into submission, Zhao Qiao ruins the mission by showing off the candle stand that he himself made. Thus the saying goes, “When Zhao Gao sent the candle stand, / He went and did not come back” (Zhao Gao song dengtai yiqu buhuilai 趙皋送燈臺，一去不回來). 48. This is derived from a line in a poem by Cui Jiao 崔郊 (ninth century), “The house of the lord, once you enter it, is unfathomable as the sea” (Houmen yiru shen ruhai 侯門一入深如海); see Taiping guangji 177.1316–17. 49. Romantic dalliance can be open in a house of pleasure; here it involves considerable risk. 50. The house has nothing of the clamor of urban houses of entertainment. It is hard to find one’s way there. 51. The “kingfisher ornament” (cuiye 翠靨) seems to be a flower-shaped ornament that women stuck on their forehead. 52. The original has Yingzhou, Fangzhang, and Penglai, all bywords for the Immortal Realm. Li Qianjin is saying that Pei Shaojun is all too human. 53. Zhang Chang painting his wife’s eyebrows becomes the symbol of conjugal bliss (see n. 19, this chap.). Zhang is also disdainful of social expectations and covers his face as he rides down Zhangtai Street. From the Tang on, Zhangtai is also associated with the pleasure quarters. Here Qianjin is boasting about how Shaojun surpasses Zhang Chang in panache as he races down Zhangtai Street. 54. Ancient Masters and Willow Branch: “What need is there to interrogate her or shame her?” 55. Legend says that the scholar Liu Xiang, moved by the beautiful statue of the goddess of the Western Peak in a temple devoted to her, inscribes poems on the temple wall. The goddess is furious and at first wants to kill him but falls in love with him instead. The adventures of the son from their union, Prince Chenxiang, is the subject of at least two thirteenth- or fourteenth-century plays, but they are no longer extant. The story is also told in The Ballad of Prince Chenxiang (Shuochang Chenxiang taizi quanzhuan 說唱沈香太子全傳), printed during the Daoguang era (1821–1850).

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56. See chap. 10, this volume. 57. In the story of the Double Seventh festival, sympathetic magpies form a bridge so that the Weaving Maid and the Herd Boy can cross the Heavenly River. 58. The name in the original, Douniu 斗牛, refers to the Dipper and Altair asterisms. Niu (Altair), which also means “bovine,” adds associations with the Herd Boy Star. 59. “To cover everything with a brocade coverlet as big as the bed” (yichuang jinbei zhegai 一牀錦被遮蓋) is a common idiom meaning a cover-up or the acceptance of face-saving compromise. 60. This line referring to the final battle in the Chu-Han struggle also appears in Tricking Kuai Tong, act 4. 61. The “dress knife” (qundao 裙刀) is a kind of weight used to keep clothes in place. Qianjin is threatening to hang or stab herself. 62. Qianjin is implicitly comparing herself to a foundling child who can be dropped with impunity. This must be all the more cutting, considering Nurse was probably the one who took care of her as a child. 63. What we translate as “undone” is, literally, “to melt like ice and to collapse like tiles.” 64. A common idiom in Yuan drama, meaning “where will it all go?” or “what will remain?” 65. Literally, the “ready wit to compose a poem in seven steps”; see n. 7, this chap. 66. “To pluck a cassia branch (on the moon)” designates success in the civil service examination. 67. Ancient Masters: “It’s not that I turned my error into a public threat (?) / But you can manipulate things, you are clever. / You can quickly resolve my problem, / You dare to take this on, you dare to accommodate.” Willow Branch: “It’s not that I dare to be wanton and wicked, / But I am only thinking of the future, making big plans; / That’s why I ended up with this scandal. / How to tell? / No way to explain. / Thank you for giving us a happy ending, for taking this on.” Meng Chengshun comments, “Xiangru disdains the world, and Wenjun recognizes him for what he is. This is where the author is defending them. It is also the real feelings of a clever girl” (Xin juan gujin mingju liuzhi ji, Qiangtou mashang, 13b). 68. Meng Chengshun comments, “The emotions and wording of acts 3 and 4 are comparable to Bowing to the Moon Pavilion [Baiyue Ting], but the musicality and resonance are more lingering” (ibid., 14a). 69. Ancient Masters and Willow Branch: “Shaojun has not yet succeeded in the examinations. To my mind he has the aspirations of Yan Yuan and Liuxia Hui.” Yan Yuan 顏淵, the disciple of Confucius, is famous for his lofty moral principles and indifference to poverty. Liuxia Hui 柳下惠 is known for his obliviousness to sensual temptations. 70. See chap. 1, this volume, p. 17. 71. Li Mi 李密 (early seventh century) and Wang Bodang 王伯當 died together when their rebellion against the Tang failed; see Liu Xu, Jiu Tangshu 53.2224. 72. For Kuai Tong, see, this volume, chap. 2. Li Zuoche was another persuader from the period of the QinHan transition. 73. See Zhuangzi jishi 2.112, chap. 2, “On Making Things Equal” (Qiwu lun 齊物論). 74. Ancient Masters and Willow Branch: “It will be better than taking the Picture of Felicity to the city gate.” 75. Qianjin is saying that their illicit union is better than a proper marriage. 76. Ancient Masters: “When you should bar them, don’t let them go.” 77. A stick with artificial flowers made from ribbons. The children may be planning to welcome their father with these flowers and a flagon. 78. The early Han official Ji Bu was known for keeping promises and for his eloquence. Sima Qian cites a contemporary saying, “Getting a hundred catties of gold is not as good as getting a promise from Ji Bu” (Shiji 71.2731–32). 79. Ancient Masters and Willow Branch: “The more I am pure as ice and jade, the more I suffer torment. / I refuse to take the deviant way.” 80. Tongxin jie 同心結, “the knot of one heart,” is also a way to tie a knot on the sash. “Shared fate” is our way of rendering “two trees that with intertwining trunks become one” (lianli 連理).

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81. The Duke of Zhou (twelfth century b.c.e.) was the son of King Wen and the brother of King Wu. He is credited with establishing foundational rituals and institutions for the Zhou dynasty. The mother of Mencius is said to have moved house three times to find the best environment for educating her son (Liu Xiang, Lienü zhuan jiaozhu 1.19–22). 82. Ibid. 6.130–33, Wuyan (Zhongli Chun) goes to the Qi king’s court and offers herself as his mate. In the Yuan play based on this story, however, the king does encounter her in the mulberry grove. See Zhongli Chun Brings Peace to Qi Through Her Wisdom and Courage (Zhongli Chun zhiyong ding Qi 鍾離春智 勇定齊) by Zheng Guangzu 鄭光祖, in Wang Jilie, Guben Yuan Ming zaju. 83. These lines from the primer “Thousand-Character Essay” (Qianzi wen 千字文) by Zhou Xingsi (d. 521) are also quoted in chap. 8, this volume, p. 323. 84. Liji zhushu 28.539. 85. On the legend of the woman who turns into a rock pining for her absent husband, see chap. 7, this volume, n. 52. 86. The story of Chaste Woman Zhao (Zhao Zhennü 趙貞女), popular during the Song and Yuan, tells how she suffers the direst poverty while her husband is away and of her digging a grave for her fatherand mother-in-law with her bare hands after they die. These plot details are incorporated into The Story of the Lute (Pipa ji 琵琶記) by Gao Ming (ca. 1306–1359). 87. This is glue made from the beak of the mythical luan 鸞 bird (a kind of phoenix). Its adhesive power is so great that it is said to be able to successfully reconnect strings in bows and musical instruments. The traditional euphemism for a widower’s remarriage is “reconnect the string with phoenix glue” (luanjiao zai xu 鸞膠再續). 88. On the shen and chen stars, see chap. 7, this volume, n. 66. Qianjin seems to be saying that, despite the woeful separation, at least she had spent years with Shaojun and her children, unlike the heavenly bodies that never meet. 89. This alludes to Su Shi’s (1037–1101) famous song lyric on Red Cliff: “Startling waves hit the banks, / Churning a thousand heaps of snow” (Jingtao pailang juanqi qiandui xue 驚濤拍浪，捲起千堆雪); Su Shi quanji, 598. 90. Pei Xingjian has a wispy thread (yousi 遊絲) tied to the pitcher. Here Qianjin changes it to “icy string” (bingxian 冰弦) because the string symbolizes the conjugal bond. 91. The analogy is a woman with two husbands. 92. If a woman is “unable to bear a son, licentious, unfilial toward her parents-in-law, improper in speech, guilty of theft, jealous, or afflicted with a vile illness,” her husband can divorce her. These “seven grounds for divorce” (qi chu zhi tiao 七出之條), first mentioned in Da Dai liji, were written into law in later legal codes; see Da Dai liji jinzhu jinyi 80.510 (“Benming” 本命). 93. On the three compliances, see chap. 7, this volume, n. 31. 94. Meng Chengshun comments, “Words of extreme pain, every line shows natural color [bense 本色]” (Xin juan gujin mingzhu liuzhi ji, Qiangtou mashang, 21b). 95. That is, a biological mother will ensure that the stepfather still behaves like a father. Some scholars suggest that “a real mother” is a mistake for “a stepmother.” “A stepmother will give you a stepfather”—that is, a stepmother will alienate the father’s affections so that he will become no more than a stepfather. 96. Ancient Masters and Willow Branch: “Hold no rancor, bear no grudge against me as if I were a whore with pinned flowers.” 97. According to an entry in Chang Qu’s 常璩 (third century) Huayang guozhi 華陽國志 (cited in Taiping yulan 73.472), the Han poet Sima Xiangru inscribed his vow on the pillar of a bridge, claiming that he would not pass it again unless he did so with four handsome steeds drawing a tall carriage. The story of how Zhuo Wenjun becomes a vendor of wine after eloping with Sima Xiangru is told in Shiji; see n. 5,

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101. 102.

103.

104. 105. 106.

107. 108. 109.

110.

111. 112.

113.

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this chap. Qianjin is saying that despite surface similarities, their story does not compare with that of Sima Xiangru and Zhuo Wenjun. In Ancient Masters, act 3 ends here. There is no mention of Shaojun’s escorting Qianjin back to her home. Willow Branch has the same ending for act 3 as Anthology. These lines are taken, with slight modifications, from Bai Juyi’s ballad “Drawing a Silver Pitcher from the Bottom of the Well.” Guage 瓜葛, literally “melon and vine,” is an expression that usually refers to romantic entanglement or social-familial connections. An example comes from Cao Rui (204–239): “From the time we were newly married, / our lives are intertwined, like melon and vine” (Yu jun xin weihun guage xiang jielian 與君新爲婚，瓜葛相結連); see Lu Qinli, Xian Qin Han Wei Jin Nanbeichao shi 1:417. Xiasu 蝦鬚, literally “shrimp antennae,” refers to curtain fringes and functions as a kenning for curtains. The line “sons and daughters are golden cangues and jade locks” (ernü shi jinjia yusuo 兒女是金枷玉 鎖) appears in a number of Yuan plays, including Young Butcher Zhang Burns His Child to Save His Mother (Xiao Zhangtu fen’er jiumu 小張屠焚兒救母) and Zhongli of Han Led Lan Caihe to Enlightenment (Han Zhongli dutuo Lan Caihe 漢鐘離度脫藍采和), both anonymous. The latter play is translated in Idema and West, Monks, 283–313. Here the metaphor acquires a literal meaning because of the virtual imprisonment Qianjin suffered when she was in Pei Shaojun’s household. Ba and Shu were ancient kingdoms in present-day Sichuan. Duyu 杜宇, or Wangdi 望帝, ancient king of Shu, is said to have turned into a cuckoo bird (dujuan 杜鵑 or zigui 子規) after death. The heartbreaking cries of the bird are rendered as buru guiqu 不如歸去, meaning, “You’d better go home”; see chap. 8, this volume, n. 41. The cuckoo bird is of course a transparent analogy for Qianjin herself. The longing for her family so consumes her that she feels suspended between dreaming and waking, as in Zhuang Zhou’s famous dream of the butterfly. The verse is different in Ancient Masters: “Dragon towers and phoenix chambers in the imperial city: / The minister strolls on the newly built sand embankment. / For all my glory and honor, don’t envy me: / Ten years ago I was but an insignificant scholar.” Throughout this scene, Pei Shaojun refers to and addresses his wife as “Miss” or “Young Mistress” (xiaojie 小姐), speaking like a man courting a young woman. A licentiate was a scholar who had passed the lowest level of the examination. Pei Shaojun is wearing the clothes he had before becoming a top graduate. Tantian 談天, “heaven spinning,” literally, “speaking extravagantly of the heavens,” is how Sima Qian describes Zou Yan’s extravagant discourse of a vast world, of which China constitutes one part out of eighty-one (Shiji 74.2348). The term here is sanmei 三昧, or samādhi, the ultimate understanding reached by the mind in a state of quiescence. It also comes to mean perfect mastery of an art or a craft. Li Qianjin may also be alluding to the phrase meixin 昧心, “going against one’s conscience.” Qianjin is referring to the fingerprints on the statement of divorce. The ancient philosopher Hui Shi is said to have read five cartloads of books (Zhuangzi jishi 33.1102). Although the praise is ironic in the original context, it becomes idiomatic to praise a person’s learning as “filling five cartloads of books” (xue fu wuju 學富五車). Scholars who failed to become top graduates in the examination often took up positions as “masters of the study” (zhaizhang 齋長) in the Song imperial academy. Qianjin is mocking Shaojun for failing to achieve success in the examination. On Sima Xiangru’s inscribing the pillar, see n. 97, this chap. Liuxia Hui was a Lu official famous for being unmoved even when a woman sat on his lap (zuohuai buluan 坐懷不亂); see also n. 69, this chap. Qianjin is ironically contrasting Pei Shaojun’s eager response at their first meeting with Liuxia Hui’s imperturbability.

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115. Pei Xingjian had dictated his views without allowing his son or anybody else to argue for alternatives. 116. Qianjin refers to Shaojun as “official of the third rank” (here translated as “high-ranking official”), although as prefect he has a much lower rank. The spiral-shaped ornaments, literally “a pattern with eight peppers” (bajiao tu 八椒圖), designate a design that resembles entwining spirals. They are also mentioned in chap. 2, this volume, act 1. 117. An official leaving office was given a nominal official position. Here Li Qianjin is caustically saying that instead of being given a meaningless title, Pei Xingjian should have followed his calling as the one managing the Marriage Registrar. 118. That is, the pupils. 119. Ancient Masters: “Shaojun: You lack good judgment [literally, “there are no pearls (pupils) in your eyes”]. Qianjin: My eyes may lack pearls of wisdom, / But I can distinguish the worthy and the foolish.” 120. Liji zhushu 27.521, “Neize” 內則. 121. Ancient Masters and Willow Branch: “Your father has jealousy that lasts three lifetimes.” “Jealousy” in this case seems to mean “a total lack of empathy.” 122. Tao Kan’s mother sells her hair in order to entertain her son’s guest. See the introductory remarks in chap. 5, this volume. Some commentators suggest that Li Qianjin is comparing Pei Shaojun’s mother to Tao Kan’s mother, implicitly expressing gratitude to Pei’s mother for taking care of her children. 123. Qianjin is comparing Shaojun to Zeng Shen, Confucius’s disciple who is wrongly accused of murder. 124. The first Han emperor, Liu Bang, honors his father as Taigong, or “Grand Patriarch.” 125. Ancient Masters: “I fear things will not be different from before.” 126. Ancient Masters and Willow Branch: “Generous Father and Mother, let me explain.” 127. Ancient Masters: “And his daughter Zhuo Wenjun once sold wine at the wineshop. / He [Sima Xiangru] won handsome emolument with his poetry, / And most unexpectedly the day came when he rode in a four-horse carriage. / That, too, was his blessing from predestined karma. / He enjoyed the highest rank, with titles protecting his son and his wife.” 128. Ancient Masters ends here: “One man’s good fortune brings calm to the world; / with rain and wind in order, we praise the peace.” 129. Haoqiu 好逑 (“fair to accept”) also means “proper match” (between the fair lady and the noble man) in the first poem, “The Crying Osprey,” in the Classic of Poetry; see chap. 8, this volume, n. 13. 130. Fiction and drama often refer to the custom of a young girl’s tossing down a ball of ribbons from atop a decorated tower—she is to marry the man who gets the ball. The final verse in Ancient Masters: “Roaming in spring fields, they peek at each other. / Their hearts are moved, and their passions are roused. / Li Qianjin preserves her chastity and integrity; / Pei Shaojun is on horseback by the wall.” This verse is the “proper topic” (zhengmu 正目) in Willow Branch. 131. Ancient Masters: “Li Qianjin Guards Her Chastity and Waits for Her Husband.”

10 Sc h o L a r Z h a n g BoI LS the S ea

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ext to nothing is known about Li Haogu 李好古 (ca. thirteenth century–early fourteenth century), said to be a native of Baoding or Dongping. Sun Kaidi identified him as a mid-Yuan official, but Zhong Sicheng lists him as “a famous noble and man of talent from an earlier generation, already dead” in The Register of Ghosts and claims not to know much about him, which raises questions about Sun’s identification. Scholar Zhang Boils the Sea (Zhangsheng zhuhai 張生煮海) is the only extant play by Li. Its mythic and supernatural elements seem to also characterize two other plays listed under his name, The Juling Spirit Hacked Open Mount Hua (Juling shen pi Hua yue 巨靈神劈華岳) and The First Song Emperor Quelled the Evil Spirit of a Cursed House (Zhao Taizu zhen xiongzhai 趙太祖鎭凶宅). The full title of our play is At Sand Gate Island Scholar Zhang Boils the Sea (Shamen dao Zhangshen zhuhai 沙門島張生煮海). Despite a mythic frame that defines for both lovers their preexistence as celestial beings, the play hews to a wonted theme in Chinese literature—a mortal man’s quest for a divine woman.1 A goddess who beckons and yet remains ultimately elusive and unattainable dramatizes the anxieties and contradictions of desire.2 Her genealogy reaches back to the seductive and faithless deities in the Verses of Chu (Chuci 楚辭, ca. fourth–third centuries b.c.); among her representative instantiations are the goddess of the River Luo celebrated by Cao Zhi (192–232) in an

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eponymous poetic exposition and the female immortals who offer Zheng Jiaofu jade pendants by the river only to vanish after accompanying Zheng for a short distance (Accounts of Immortals [Liexian zhuan 列仙傳, ca. third century]). Both the goddess of the Luo and Zheng Jiaofu’s encounter appear as allusions in our play. Even sexual union does not guarantee a happy ending: Liu Chen and Ruan Zhao meet goddesses on Mount Heavenly Terrace—in some versions of the story they meet at the Peach Spring Grotto—and enjoy half a year of bliss, only to return to the human world and find that generations have passed and their families are long gone (Liu Yiqing, Youming lu). This too becomes a standard allusion, and the play here refers to it a couple of times.3 Despite the disquiet suggested by these allusions, Zhang Yu (Scholar Zhang) in this play successfully pursues union with Qionglian, the daughter of the Dragon King, with divine assistance. A female immortal, Hairy Maiden, grants him the magical tools to “boil the sea”; an abbot offers to serve as intermediary and matchmaker. Divine assistance might have somewhat diminished Zhang Yu’s role as the emotional focus of the play. Contrary to what one might have expected, Zhang Yu is not played by the male lead, and he does not get to sing any arias. The play could have focused on Zhang Yu’s hopeless longing and heroic striving; instead the most memorable arias are sung by Qionglian and the Hairy Maiden as they describe, respectively, Zhang’s qin music4 and the perils and beauty of the sea. For all that, Zhang Yu comes across as a more constant lover than his counterpart Liu Yi in another Yuan play about a mortal’s union with a dragon princess, Liu Yi Delivers a Letter to Lake Dongting (Dongting hu Liu Yi chuanshu 洞庭湖柳毅傳書) by Shang Zhongxian.5 In that play the dragon princess of Dongting, trapped in a loveless and abusive marriage, is banished by her husband’s family to the bank of the River Jing to work as a shepherdess. Liu Yi helps her deliver a message to her parents, and her uncle, the Dragon King of Qiantang, descends in fury on her husband’s dragon lair at the River Jing, causing great destruction and killing her husband. When the Dragon King of Dongting proposes to offer his daughter in marriage to Liu Yi, the latter refuses: “When I think about what the dragon princess looked like as she herded sheep by the River Jing—she was incredibly disheveled and worn-out—why would I want her?” He regrets his decision when he sees the dragon princess restored to the full glory of her beauty and finally achieves union with her after she is reborn as a mortal. Compared with Liu Yi, Zhang Yu is unwavering in his devotion to the dragon princess. Meng Chengshun took the glorification of love and human striving to be the “message” of the play: “When a person’s feelings reach to extremes, then he can defy beings from other realms and enter the dark seas.”6 In both plays, however, it is the female protagonists voicing longing or suffering who become the lyrical center. In both cases, the mythic realm of the Sea Kingdom opens up poetic possibilities: there are extravagant descriptions of its splendor as well as stirring accounts of monumental conflicts. The havoc caused by Zhang Yu as he boils the sea is matched by the account of the rampage of the Dragon King of Qiantang at the River Jing. The threads shared by these two plays may explain why Li Yu (1610–1680) combined them in his chuanqi play Tower in the Mirage (Shen zhong lou 蜃中樓).

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In Zhu Quan’s Correct Sounds, our play is classified as a play about “gods and deliverance” (shenxian daohua 神仙道化). The frame of the deliverance play does apply: at the beginning of the play the Immortal of Donghua explains that Zhang Yu and the dragon princess were in fact the Golden Lad and Jade Maiden in their previous existences, and at the end of the play he “enlightens” them and they ascend to the celestial realm. However, whereas most deliverance plays involve acts of renunciation or the protagonists’ realization of the futility of mortal strivings and passions, Scholar Zhang Boils the Sea ambiguously dispenses with that plot line. Golden Lad and Jade Maiden are banished to the Lower Realm because of mortal passions, but instead of experiencing repentance or suffering in their earthly forms, they confirm their passion and ascend to heaven at the end in what looks like a celestial marriage. This play, mentioned in The Register of Ghosts and Correct Sounds, is preserved in Anthology, on which this translation is based, and Willow Branch.7 The main difference is act 3: in Anthology the matchmaker and lead singer is the abbot, while in Willow Branch that role falls to the Fairy Mother.8 Another significant divergence is the beginning of act 2. The Willow Branch version begins with a sequence of arias sung by the Hairy Maiden disparaging the four worldly vices (drinking, sensual indulgence, greed for wealth, wanton anger) and extolling the joys of reclusion. Disconnected with the main action of the play, it is not surprising that an editor (probably Zang Maoxun) decided to excise it. It gives credence, however, to Zhu Quan’s characterization of the play’s main concern as “gods and deliverance,” and so I have appended its translation following the play. Its copresence with the lavish description of the splendor of the Dragon Palace and the Immortal Realm reminds us of a fundamental duality in Daoist religion: the quest for simplicity and freedom from the burden of desire and the wish to fulfill desire in its myriad forms (material opulence and abundance, amorous union, immortality). Liu Jung-en also translated this play in Six Yuan Plays.

SchoLar Zhang BoILS the Sea D r a m at i s P e r s o n a e

Role type Extra Male Lead Acolyte Opening Male Servant Boy Female Lead Maidservant

Name, social role Immortal of Donghua Fayun, Abbot of Stone Buddha Temple Zhang Yu, a young Confucian scholar Qionglian, daughter of the Dragon King

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Hairy Maiden, a female immortal dressed like a Daoist priestess Dragon King of the Eastern Sea

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(Extra dressed as Immortal of Donghua enters.) Immortal of Donghua (recites:) Crimson clouds across the sea eastward loom: Three Immortal Islands, all in riotous bloom. Here flourish the purple mushrooms that life span extend; Blissful and content, to joy in our divine home we ascend. This humble Daoist mendicant is the Immortal of Donghua.9 From the point of No Beginning,10 I have adhered to the Dao with my whole heart. I have purified my Three Fields, nurtured into being the Supremely Precious Golden Shoot, imbibed the Seven-Round Elixir and Nine-Return Elixir, and have become the Immortal of the Highest Heavens holding sway over the wonderful and august heaven of Donghua.11 Now, during one Jasper Pool Gathering,12 Golden Lad and Jade Maiden conceived a mortal passion for each other. As punishment they were banished to the Lower Realm, placed into earthly wombs, and reborn. Golden Lad took human form as the son of the Zhang family in Chaozhou13 in the Lower Realm, gained a deep understanding of Confucian teachings, and became an accomplished scholar. Jade Maiden was born a girl at the abode of the Dragon Spirit of the Eastern Sea. By the time they pay off their karmic debt,14 I will naturally enlighten them so that they can return to the True Path. (Recites:) Golden Lad and Jade Maiden felt affinities so keen: Such a match of scholar and beauty the world has rarely seen. Wait till they meet and pay their karmic debt; They will return to the Jasper Pool, on the True Path set. (Exits.) (Abbot enters with Acolyte.) Abbot (recites:) The great way of Buddha requires meditation and spiritual cultivation. For the origins of our lineage, this monk offers illumination and explication. Almost forgetting that the Eastern Sea is so close outside our gates, I only thought that for our Immortal Realm, grace and quiet are natural traits. This humble monk here is Fayun, the abbot of the Stone Buddha Temple. This is an ancient Buddhist monastery close to the shore of the Eastern Sea, and the marine troops of the Dragon King often frolic here. Disciple, keep watch outside the gate and let me know when visitors arrive.

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Acolyte: I understand. (Opening Male dressed as Zhang Yu enters with his servant boy.) Zhang: I am Zhang Yu, a native of Chaozhou, and my sobriquet is Boteng. My father and mother passed away many years ago. I have applied myself to studying the classics since childhood, but as luck would have it, I have yet to achieve success in the examination. Today I am strolling along the seashore and just caught sight of an old temple with an acolyte standing in front of the gate. You there, acolyte—does this temple have a name? Acolyte: How could it not have a name? A mountain without a name is misleading enough, but a temple without a name is downright vulgar. This is the Stone Buddha Temple. Zhang: Go tell your abbot that a wandering scholar has come to pay a call. Acolyte (reports the visit:) There’s a young scholar outside who’s come to pay his respects to you, Master. Abbot: Invite him in. (They greet each other.) May I ask where you are from? Zhang: I am from Chaozhou. Both my parents passed away when I was a child and I have yet to achieve success in the examination. I just happened to be strolling along the seashore, and because this old monastery looks so calm and tranquil, I am hoping you could provide me with a plain cell so that I could stay and review the classics and histories. I wonder if this would meet with your approval? Abbot: There are plenty of rooms in the temple. Disciple, prepare a secluded room in the southeast corner suitable for the young scholar to do his reading. Zhang: I do not have any appropriate gifts—here are two taels of silver that may serve you as a charitable donation, sir; please accept them. Abbot: Since you are sincerely offering them, I shall take them. Disciple, tidy up a room and prepare a vegetarian meal; see that the young scholar is comfortably settled. I will go back to the meditation hall to say prayers and honor the Buddha. Acolyte: All right, we’ll give you this quiet room, sir. You’re free to do whatever you want. Go turn somersaults, do high kicks, perform a crazy dance, dress up like a god for all I care. Go ahead, let your hair down, improvise your lines, play the clown, raise hell, laugh it up. Have fun whatever way you want. As for me, I’m going to the meditation hall to wait on my master. (Recites:) Sweeping the floor, hauling water all the way— As an acolyte, I toil day after day. Would that I could speak about romance With the romantic, just fool around and play. (Exits.) Zhang: This monastery is peaceful, free from the babble of idle tongues. Ideal for concentrated study. But it is getting dark now. Bring the qin over here, boy, and I’ll play a tune to relieve my heart. (Servant Boy positions the qin.) Light the lamp and burn some incense. (Servant Boy does so.) (Recites:) My tunes, recalling flowing streams and high mountains, are not in vain. Now that Zhong Qi is gone, true appreciation is hard to attain.15

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Could I, this evening plucking chords beside my lamp, Charm swimming fish to rise up and listen?16 (Female lead dressed as Qionglian enters with her Maidservant.) Qionglian: I am Qionglian, third daughter of the Dragon King of the Eastern Sea. With my maidservant, Green Lotus,17 I am taking a leisurely stroll on the sea. Maidservant: Look, Sister, the pellucid sea is just the color of the sky. What a lovely scene! Qionglian (sings:) [Xianlü mode: Touching up Red Lips] The sea waves are tossing, tossing, The night wind gently blows. Spume binds sky to sea.18 Not knowing east from west, We step daintily across the waves.19 [River Churning Dragon] On a clear, dreamless night like this, I have brought along this young sprite as a companion for my stroll. Having just emerged from the pellucid, jade-green sea, We now stand gazing at the dazzling sweep of sky in the distance: See how countless colorful clouds rise from the sea, Where waves reflect the bright orb of the moon. Maidservant: Are scenes in the sea different from the human realm? Qionglian (sings:) I have seen the Phoenix Towers in the world of men— How can they compare with the Dragon Palace of our Sea Kingdom?20 In the clear depths, the Cave Heavens and the Blessed Realms allow free roaming;21 In that endless green, the din of bathing ducks and flying geese is no longer provoking. But equally deep is my romantic longing— Oh, how hard it is to convey it to someone! Maidservant: Sister, you are actually an immortal of the sea. Indeed your beauty is unearthly! Qionglian (sings:) [Oily Gourd] We spirits of the sea have boundless years; This immortal island of Penglai is within view. My fairy sleeves, in silken crimson, flutter in the breeze. In this cloudlike coiffure piled high, golden pins weightily tease, The mere lifting of my eyebrows moves my jeweled hairpiece. The sleeves cover

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Finely tapered fingers.22 The skirt brushes Tiny bow shoes.23 I only need to learn to play the flute; together we will take flight astride the fairy phoenix, Soaring to cerulean heights on the winds of heaven.24 Maidservant: I should think heaven by definition cannot be matched by the world of men. Qionglian (sings:) [Joy for All Under Heaven] No match indeed: for the glories of the human world are soon swept away Like tumbleweeds in a whirl of dust. Spring passes, summer comes; autumn, then winter again. They hear now the dawn-heralding cock, Now the evening bell: To the end these mortals don’t know what life is all about. Maidservant (Scholar Zhang plays the qin; Maidservant listens:) Where is that sound coming from?25 Qionglian (sings:) [Song of the God Nezha] I seem to hear the rustle of the night wind, Wind drifting through countless pines, While the bright face of the moon Lights up half of the sky. It’s the sound of gurgling water rushing, Rushing as the stream flows down a steep slope. It’s not the sound of lotus-gathering girls moving their oars, Nor that of the old fisherman knocking the stern to rouse the fish: That slumberer of the night is startled to hazy wakefulness. Maidservant: This sound is like nothing I’ve ever heard before. Qionglian (sings:) [Sparrow on a Branch] This is not the tinkling of pendants languishing on a sash, Nor is it the clanging of jostling iron horses in wind chimes, Nor is it the resonance of bells or gongs in Buddhist temples.26 Each note stirs disquiet in my heart: It turns out to be the soulful twang of someone strumming the qin. (Zhang strums the qin again.) Maidservant: Is it someone playing in the temple? Qionglian: It turns out that someone is playing the qin. Maidservant: Sister, let’s listen.

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Qionglian (sings:) [Dodder] His every word conveys boundless feeling, Each note sighs an endless song: Tremulous like the golden chrysanthemums in the autumn wind swaying, Fragrant like the red cassias whose scent the autumn wind is conveying, Resonant like the verdant bamboo in the autumn wind soughing. Yi-ya-ya! Like a gold shuttle on the loom of brocade crisscrossing, Di-liu-liu! Like pearls let go from a girl’s hand and merrily dancing.27 Maidservant (peeking into the room:) It’s a young scholar playing the qin in there, and he is most elegant looking. Qionglian (sings:) [Six Little Ones] His innermost thoughts speak through his strings, His skill flows through his fingertips. Better than the pipa, his qin allows for slow plucking and light strumming.28 I see proper demeanor and a perfect countenance, And sense transcendent grace in his imposing form. Surely he is Xiangru sojourning in Linqiong, Ready to woo Wenjun by playing the tune “Phoenix Seeking Mate.”29 Despite myself, love floods my heart. In the pure breeze, under the bright moon, listen to the qin: Truly, on the golden strings, the waves rush and churn, From the jade lever, jade pendants tinkle.30 Maidservant: Sister, not to mention you are a real music lover, even I find his undulating strains pleasing to the ear. He plays very well indeed. Qionglian (sings:) [Same tune as above] A truly knowing heart, Further, a skill divine. Mournful as a crying wild goose, Urgent as an autumn cricket, Delicate as a flowerlike face, Forceful as booming thunder. Indeed, this is music to dispel all idle melancholy. Proficient in this one art, This scholar must excel in a hundred more. As I approach stealthily on tiptoe, He changes to another key and mode. How much more powerful than the way Panpan pleases the poet with lyrics!31 This is like a dream of roaming with immortals on a fine night.

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For this reason alone I am peeking into the monastic abode— It’s not because I lack maidenly reserve and fail to keep to the inner chamber.32 (A qin string breaks.) Zhang: Why did the string snap all of a sudden? Could someone be eavesdropping?33 I’ll just go out and take a look. Qionglian (drawing back:) What a fine young scholar! Zhang (seeing her:) Ah, what a lovely girl! (Zhang addresses her:) Young lady, may I ask what family you are from? Why are you abroad at night? Qionglian (sings:) [Golden Cup] At home in the azure clouds, Among the green waves, Scaly and horned attendants wait on me. I live deep within the regal Crystal Palace, A daughter of Dragon lineage in the sea, Fairer even than Xu Feiqiong in heaven.34 Do you not know that all lesser stars pay homage to the Pole Star, That all rivers must flow eastward to the sea? Zhang: Your family name is Long  .  .  . Why, I remember this name appears in He Chengtian’s Collection of Family Names.35 But since you have a family name, how can you not have any given name? And what brought you here? Qionglian: I am the third daughter of the Long family, and my name is Qionglian. I heard you playing your qin and so I came here to listen. Zhang: Since you have come to listen to the qin, you must be a music lover. Why not come into my study and sit down, and let me focus and play a piece with care? Will you? Qionglian: With pleasure. (She enters the study.) May I ask your name, sir? Zhang: My name is Zhang Yu, and my sobriquet is Boteng. A native of Chaozhou, l lost both parents while I was very young. I have applied myself to the classics but have yet to pass the examination, and so I have come here as a roaming scholar seeking learning. I have no wife. Maidservant: The nerve of this scholar! Who asked you whether or not you had a wife?36 Servant Boy: Not only my master—I don’t have a wife either. Zhang: Would you, My Lady, overlook my poverty and consent to be my wife? Qionglian: I can see you are intelligent and wise, as well as handsome and refined, and I would fain become your wife with all my heart. But my parents are both alive. Wait until I have asked for their permission; then, on the fifteenth day of the eighth month, during the Midautumn Festival, come to my home and be welcomed as their son-in-law.

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Zhang: Since you, My Lady, deign to consent, why don’t we arrange the marriage tonight? How wonderful that would be! How can I wait until the Midautumn Festival? Servant Boy: That’s right. I can’t wait either. Maidservant: So you can’t wait either. That’s easy to fix. Qionglian: As the proverb goes, “With love, why fear the delay of a year?” What is this about not being able to wait? (Sings:) [Flower in the Rear Courtyard] There too traces of cloud and rain will be on the Sunlit Terrace,37 Quite unlike the dalliance of wind and moon in the House of Pleasure.38 Zhang: May I ask where your home is? Qionglian (sings:) Three thousand leagues beneath the blue sea, As removed as the twelve peaks of Mount Wu.39 Zhang: If I become the son-in-law in your esteemed household, then I will be in the lap of wealth and luxury. Will I have people to wait on me? Qionglian (sings:) It follows from our family tradition That we have none but krakens as counselors, young dragons as aides, Sea-turtle generals as well—and terrapin ministers, Finny wives of rank, shrimp favorites at court, Giant lizards as military scouts, and tortoise graybeards: Seaworthy all, and seasoned wielders of the wind. Though we be separated by layers of mountains and clouds, A simple gesture or glance will bring about our meeting. Zhang: All I ask of you is that you keep your word. And for myself, I am straightforward and sincere. Qionglian (sings:) [Blue Song] These sweet words rouse me, caress me; Your smiling face coddles me, flatters me. Just look: when the eighth moon rises like an icy orb in the east from the sea, Then will the mists dissolve, leaving the sky clear. Breezes will waft through the lattices of windows, And we will join in the harmony of clouds and rain. Then, in the midst of brocade and flowers, Jade wine cups and golden goblets, As a pair, as a couple, There’ll be joy, there’ll be gaiety. As you and I laugh and follow each other, Don’t say then that you were misled into the Peach Spring Grotto.40 Zhang: Since you promised to be my wife, will you leave me something as a token of our pledge?

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Qionglian: Take then my kerchief of sea gauze spun from the silk of ice silkworms as such a token.41 Zhang (gratefully:) How can I thank you enough, dear lady? Servant Boy: What kind of pledge token are you going to give me, my pretty maid? Maidservant: I’ll give you a broken rush-leaf fan: take it home and fan the stove! Servant Boy: Where will I find you? Maidservant: Just go to Brick Pagoda Alley at the corner of the Sheep Market and you’ll find me there—in front of the police station. Qionglian (sings:) [Coda] Don’t you know what it’s like to think as one? How can you fail to understand? I am no rakshasa,42 So have no fear; It must be preordained karma that gives us present bliss, For by midautumn we will meet in wondrous union. Just be at ease, Cut through this endless expanse of dark mist. Where I am, there is absolute tranquillity and no earthly bustle or mortal cares. Zhang: I will gladly go where there is bounty such as that. Qionglian (sings:) Ringed round with shielding red and embracing green, All golden doors and silver beams, This is no less than the Pearl Palace43 in the heights of the Nine Heavens. (Exits with Maidservant.) Zhang: This girl is bewitchingly lovely; there can’t be another like her in the whole world. She told me I would find her on the seashore, but I cannot wait until midautumn. Boy, look after my lute, my sword, and my box of books. I will take just this gauze handkerchief, brave endless distance, and trust to luck that I can find her on the seashore. (Recites:) I let my steps take me along this eastern coast; A girl who heard my qin is now most dear. Blessed by karma and fate, we were able to meet— Why must one laugh at Zheng Jiaofu by the river?44 (Exits.) Servant Boy: How gullible my master is! Who knows if she isn’t an evil spirit? He believes everything just like that and goes off after her. I’ll report this to the abbot and the acolyte, and we’ll go after my master. (Recites:) I won’t let this bewitching evil spirit Ply fancy words to gain his trust. If I don’t hurry and catch him, My brother will be in confusion dim. (Exits.)

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Zhang (enters and recites:) A lucky encounter with a beauty brings promise of another meeting. Unsung flowers and wild grass for fragrance are competing. Where is the Peach Spring Grotto for secret love? I only fear that the Liu lad, once gone, will not return.45 I am Zhang Boteng. I have just met the most extraordinary creature. I am following her traces in hopes of finding her again, but now I’ve lost her. I see only the blue hills, the green waves, teal-blue cypresses, and dark pines. I can go no further; neither can I go back. How desolate am I! I may as well sit down and rest awhile on this pitted rock. (He steps aside.) (Female Lead, made up for her second role as Hairy Maiden, a female immortal, enters.) Hairy Maiden (recites:) The mulberry fields turn into the sea, then to fields back again. In the twinkling of an eye, how can the passage of a century be borne? Turn your head around and reset your mind for enlightenment— Who will fail to become an immortal of the highest heavens? I was formerly a palace lady during the Qin dynasty. One day I went into the mountains to gather herbs, and ever since then, I have dispensed with cooked food. Gradually my body became lighter and lighter, and eventually I attained the Great Way. I am known to the world as Hairy Maiden.46 Acting on a whim today, I just happened upon this place here on the eastern seacoast. Just look at this great boundless stretch of water! (Sings:) [Nanlü mode: One Sprig of Blossoms] The black expanse of sea spreads out endlessly; The lofty mountains loom large as the Kunlun range. In sheer brilliance the icy orb rises from the sea In a blaze of glory, the red sun sinks beneath the cliffs. The sun and moon come and go, But the mountains and sea abide. In all directions Throughout the land, Why ask whether it is Yellow River, River Han, the Yangtze River, or River Huai? All that is water returns to the sea. [Liangzhou Number Seven] See far in the distance: the Ten Islets, the Three Islands, Langyuan and Penglai glimmering in the mist,

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Lapped by turbulent brown waves that suggest the Yellow River. The sea surges as high as the Nine Lights,47 Gleams as far as the Three Terraces,48 Merging with the River of Heaven above, Linking to the Yellow Earth below. This majestic ocean knows no bounds and no limits, And many are its marvels and rare treasures: Lo and behold: see how within the rushing billows Priceless pearls glint. Where luxuriant vegetation grows, The herbs of immortality exude heady aroma. Gaze and be dazed by Dragons lying dormant And somber-hued monsters of the deep! Often the clouds darken as mists gather, A dense green pall shuts out the world of red dust: One wonders if one is indeed beyond the Ninth Heaven. All mortal landmarks are engulfed;49 Why ask about green cliffs or blue isles?50 (Zhang Yu enters.) Zhang: I do not know what place this is, but it sure is a pleasure to meet another lady. Oh, it’s a Daoist priestess. I’ll ask her the way. Hairy Maiden (sings:) [Sheep-Herding Pass] Suddenly caught off guard, I cannot hide, Nor can I go away. Look! Clasping his hands, he is advancing toward me— No doubt a traveler who has lost his way, Or a passing stranger who has missed his boat. Zhang: Priestess, could you please tell me where I am right now? Hairy Maiden (sings:) Since you came over to ask me, You owe me first an explanation. Zhang: I have come in search of my beloved, but I don’t know where she has gone. Hairy Maiden (sings:) For now don’t quibble with the woman picking mushrooms, But just ask where your beloved is. (Speaks:) Where are you from and for what reason have you come here? Zhang: I am from Chaozhou. A roaming scholar seeking learning, I have taken lodging here at the Stone Buddha Temple. Last night I was playing the qin and a young lady with her maidservant came to listen. She said she was a daughter of the Long lineage,

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Qionglian by name, and that she would meet me at the seashore at the Midautumn Festival. Right away I went in search of her, but I must have taken the wrong road. She is the most lovely woman I’ve ever met, without any parallel in the world. Hairy Maiden: Perhaps you misunderstood her when she said her surname was Long. (Sings:) [Scold the Handsome Lover] The beauties of the Dragon Palace are enchanting; Well might you on a promise given then Come alone in search of her today. You would even forfeit your life for the sake of this debt of love. But that green-faced Dragon is ever paranoid, His brutal nature knows no reason, His savagery brings men to grief. Zhang: Is he that fierce? Hairy Maiden (sings:) [Grateful to Imperial Beneficence] Ah! When he bares his fangs and claws And gives his horned head the slightest toss, In an instant great waves rise from the sea, In another mountains topple, And in yet another rivers roll back. He can expand until there isn’t room enough for him in the universe; He can shrink until he hides inside a mustard seed. At will he displays his mighty strength, Manifests his supernatural powers, Lets loose his cruel madness. Zhang: It is just that the girl’s surname, Long, means dragon. Why do you, priestess, speak of dragons? Hairy Maiden: You probably don’t know it,51 but can this Dragon be provoked with impunity? (Sings:) [Song of Picking Tea Leaves] When he makes clouds gather, it happens in an instant; When he stirs wind and rain, it affects the whole earth. He will frighten you to death, I fear. Do not, for the promised union of cloud and rain with the Dragon’s daughter, Give up the future symbolized by toad and cassia that your fine talents offer.52 Zhang: I’ve just come to my senses! She is the daughter of the Dragon King! And since her father is so cruel and ferocious, how could he give her to me as wife? The marriage will come to naught! Ah, My Lady, what prompted you then to come and listen to my qin? (He is grief-stricken.)

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Hairy Maiden: I am no ordinary human. I have been instructed by the Immortal of Donghua to come and guide you back to the true path, lest you sink into oblivious deviance. Zhang (making obeisance:) My mortal eyes have blinded me to your celestial guidance. Please forgive me for my ignorance. Hairy Maiden: Let me ask you: The girl who listened to your qin is Qionglian, the third daughter of the Dragon King of the Eastern Sea. She lives hidden in their palace in the sea—how did you manage to meet her? Zhang: As for the daughter of the Dragon Palace, I have some preordained karmic affinity with her. Hairy Maiden: How do you know you have this preordained karmic affinity? Zhang: If this weren’t so, why would she deign to invite me to her home on the fifteenth evening of the eighth month and take me as her husband? And why would she have given me this sea-gauze kerchief as a token of our pledge? Hairy Maiden: This kerchief is indeed from the Dragon Palace. The lady must have found in you just what she desired. But the Dragon Spirit is irascible; you cannot make him freely give his beloved daughter to you as wife. Now, sir, to bring about your marriage, I will give you three magical treasures with which to subdue him. Have no fear: he will relinquish his daughter to be your bride. Zhang (kneeling:) I would love to see your magical treasures. Hairy Maiden (picking up stage props:) I give you one silver pan, one gold coin, and one iron dipper. Zhang (taking them:) I receive these treasures with thanks, but you will have to tell me how to use them. Hairy Maiden: Ladle seawater into the pan with this dipper and place the golden coin into the water. If you boil the water down one-tenth of an inch, the sea will drop ten leagues; boil it down two-tenths of an inch and the sea will drop twenty leagues. Now the sea will have evaporated by the time you boil the pan dry. How then can the Dragon King still stay alive? He will surely send someone to invite you and summon you to become his son-in-law. Zhang: Thank you for these instructions! But I wonder how far it is from here to the seashore. Hairy Maiden: The shore of Sand Gate Island lies scores of miles ahead. (Sings:) [Coda in Huangzhong Scale] These treasures are taken from the Jade Terrace of the Purple Palace in the Realm of Pure Void, From the azure vastness of heaven they have come. Boil with abandon, Plan with no fear, Follow your heart, Fulfill your desire.

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No need to initiate the alliance, No need to bring betrothal gifts. They will be the matchmakers, And you will be the son-in-law. You’ll be like branches from trunks intertwined, Twin flowers blooming from a single stem, Intimate like mating phoenixes, Inseparable like fish and water: Don’t ever make light of them! Though your marriage comes of the clever plans of gods, It’s also ordained by blessings from your former lives. Thus can you boil dry this great ocean like boiling water! (Exits.) Zhang: So it is my karma to have received these magical treasures from the immortal. I shall go directly to Sand Gate Island and boil the sea away. (Recites:) Roiling waves can churn away in the Eastern Sea, I shall draw its water to boil in my pan. Such is the immortal’s wonderful plan: No fear that I will from my fair lady be banned!

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(Acolyte enters.) Acolyte: I am the acolyte of the Stone Buddha Temple. A few days ago a young scholar sought lodging in these quarters, but, while he was playing his qin at night, he was bewitched by an evil spirit and carried off. His servant boy immediately rushed off in search of him, and my master, all befuddled, sent me on the search as well. The woods are deep and the mountain is dangerous—where could I possibly find him? I was just about to return by myself when, all of a sudden, I found myself confronting a tiger. It rushed at me, baring its fangs and brandishing its claws, but fortunately I had caught sight of it before it saw me. I looked left and right and there was no place to hide. There happened to be a pool of muddy water close by, so I had no choice but to slip in and sit right there. Who could have known that the tiger, thirsty from all the running, needed to drink just then, opened that bloody basin of a red mouth, stuck out that dagger of a tongue, and with one slurp lowered the pool by an inch. Several more slurps and that pool began to dry up, and my body stuck out like an oar top—what could I do? I seized the moment when it opened its mouth, and with one somersault rolled into its belly. It turned out that inside that belly, I could feel where its heart and vital organs were, although it was quite dark. I felt my way to its heart and bit its left side with might, and I heard the tiger call out, “Aiya!” I found its heart again

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and bit its right side doubly hard, and I heard the tiger shouting, “Why is my heart hurting like this today? Could it be that tricky acolyte at the Stone Buddha Temple who’s plotting against me?” So I said, “You’re not far from the truth.” That tiger said, “Come out!” I said, “Where?” That tiger said, “You come out from the front gate.” I figure all it needed to do was close its fangs a little, and my body would be as mashed as sesame candy. So I said, “I am not coming out the front gate.” That tiger said, “So where will you come out?” I said, “I am coming out the rear gate.” So that tiger ran all the way to the hilltop, planted two claws on two big trees, and swung his hips with all his might toward a clearing on the hilltop and let out a thunderous fart. Riding on the force of this fart, I made a somersault and landed at the Stone Buddha Temple.53 That was how I saved my life. (Recites:) For nothing I almost forfeited my life, Ashamed to confess how for the rear gate I did strive. Much better to follow the scholar and die infatuated, An amorous ghost under the peonies seeking his wife. (Exits.) (Zhang Yu enters with his Servant Boy.) Zhang (recites:) My former life a happy union to me does bring; I found the phoenix glue to mend my broken qin string.54 With these treasures I will bring the pan to boil— Who would have known that for the lotus the fire is soil?55 I am Zhang Boteng and I have been here on the seashore for some time already. Boy, strike the flint and steel and get a fire going. Arrange three stones around it and put the pan on. (Servant Boy puts the pan on.) Now ladle up some seawater with the dipper. (Servant Boy fetches water and pours it into the pan.) The pan is filled to the brim. Now put this gold coin in too. Get the fire going. If the flames are strong enough, it shouldn’t be too long before the water begins to boil. Servant Boy: You didn’t tell me any of this before. Your lady’s maidservant gave me a rush-leaf fan, but I didn’t bring it along. Now what will I use to fan the fire? (Fans the fire with his coat sleeve.) Good, the water in the pan is boiling now. Zhang: Now that it is boiling, let me see how the sea is doing. (Takes a look and is startled:) Incredible! The sea is indeed roiling and bubbling. The magic works! Servant Boy: Why will the sea begin to boil when the water in this pan is boiling? Can there be some link between the two? (Abbot enters, agitated.)56 Abbot: I am the abbot of the Stone Buddha Temple. Just now as I was meditating on the meditation seat, a messenger from the Dragon King of the Eastern Sea arrived and said, “There’s a young scholar using something or other to boil the sea to bubbling and roiling.” The Dragon King is so frantic that he could find no place to hide. So he has begged me to go and persuade the young scholar to put the fire out, and the sooner the better. This young scholar is none other than Zhang Yu of Chaozhou, who

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sought lodging for studying at my temple the other day. Considering that my Stone Temple is right on the Eastern Sea, and that the Dragon Palace is now in danger, how can I not try to save it? There’s no choice but to go to Sand Gate Island on a trip to persuade the young scholar to let go. (Sings:) [Zhenggong mode: Proper Decorum] They endure the boiling all the way, There is futile havoc in the entire sea. How could the Dragon King not turn frantic in his fear? I see bloody vapors from the Crystal Palace shooting up to the sky; The stench suffocates my nose and mouth, already parched by hot smoke. [Rolling Silken Ball] Who could have thought that this scholar Would rashly do this thing! I do not know what magical skills he is commanding, But he seems intent to show off his awesome might! Can he be setting up a fire to intimidate the sun? The leaping flames are burning, bringing the waves to a roiling boil! Even if we had thunder and rain, there is no succor from this horror!57 For I can see the gleaming fish leaping in their frenzy through the waves, The silver-footed crabs crawling to hide on the shore. Alas! The slightest contact with this water causes blisters! (He arrives and speaks:) I have arrived here on the shore of Sand Gate island. You, young scholar, what are you boiling there? Zhang: I am boiling the sea. Abbot: And why are you doing that? Zhang: Reverend Master, you wouldn’t know this. But the other night, while I was playing my qin in the temple, a girl came to eavesdrop. She said she was Qionglian, the third daughter of the Dragon family, and she promised to meet me on the day of the Midautumn Festival. I don’t see her coming, so I am boiling the sea to make her come out. Abbot (sings:) [If a Scholar] So if you can’t have your wedding night with floral candles, (speaks:) Good work! (Sings:) You twist things around and open a bathhouse with scented water! Measuring out the sea peck by peck!58 A scholar should be gentle and calm— How can you resort to this hotheaded trick? Zhang: Mind your own business, Reverend Master. Go beg for alms elsewhere. Abbot (sings:) [Rolling Silken Ball]

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I am no mendicant begging for food, Nor do I seek donations. I have come especially to pay you a visit. Zhang: I am a poor scholar. You will get nothing from your visit. Abbot (sings:) I am a monk who has left the mundane world; What harm is there for me to beg for alms? Zhang: If I get to see the lady, and her family is willing to take me as her husband, then you can have a liberal reward. Abbot (sings:) Just because that lovely maiden Would not accept a handsome lad like you,59 You cause calamity to fall from heaven. You may be poor, But you will emblazon their gates with glory! Where did you get this volcanic fire that can refine mercury and lead? Where did you find this exotic remedy for lovesickness? A most unusual thing, I must say. Zhang: Reverend Master, I tell you in all sincerity: I will tend this fire until the lady I met that night comes out of the sea. Abbot: Now you listen to me: The Dragon King of the Eastern Sea has sent me here to act as a matchmaker. He invites you to become his son-in-law. What do you think? Zhang: Don’t try to make a fool of me, Reverend Master. The sea still stretches as a limitless white expanse. How can I, a mortal, expect to just walk in? Servant Boy: That’s no problem, Master. Just follow the abbot. If he doesn’t drown, then why should you? Abbot (sings:) [Taking Off the Plain Robe] In all earnestness I must inquire into your action and intention; You should take your time to ponder this with due attention. Just point your finger at the water and it will turn to earth; Divide it, and you’ll be walking on a level berth. [Little Liangzhou] It will be for you like walking on a plain along a grass-lined path. Zhang: Won’t it be dark at the bottom of the sea? Abbot (sings:) On the contrary, the sun will just be rising from Fusang.60 Zhang: But I am a mortal after all. How dare I go into the sea? Abbot (sings:) Though the great sea is called the Eastern Ocean, You need not yield to the notion. (Speaks:)

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Just go! He can’t wait to make you his son-in-law. Zhang: I have heard that the Realm of the Immortal is three thousand leagues down in rarefied water.61 How dare I go there? Abbot (sings:) [Same tune as above] Then do not think of it as three thousand leagues of endless, rarefied water, But as it really is: a colorful, misty Domain of the Sea, the Realm of Finny Tribes! Zhang (gazing around:) The sea is so vast, so limitless that one would think it is one with the sky. It’s frightening! Abbot (sings:) You say it seems to be one white expanse as vast as the sky: It shows all the more how capacious is the Dragon King’s magnanimity.62 Better let your hat shine and bloom to get ready for your reception as groom.63 Zhang: If that is the case, I’ll put away my treasures. But you, Reverend Master, have to help bring about this marriage. Servant Boy: The lady’s maid should be matched with me. Otherwise, I’ll keep the fire going. Abbot (sings:) [Laughing at the Monk] Go! Go! Go to her orchid chamber, to the reception hall. Yes, yes, yes! My every word is honest and true. Zhang: Is that so? Abbot (sings:) You, you, you—still looking disheveled and humble, While she, she, she is already richly adorned. Quick! Quick! Quick! You will be a pair. Come! Come! Come! Rest among ornate bed-curtains, like lovebirds in their lair. Zhang: If this be so, I will go with you, Master. I wish to be united with her as soon as possible, lest she go back on the old promise. Abbot (sings:) [Coda] Just because you two, scholar and beauty, would have things your way, You have shocked her parents and thrown them into disarray. You with your handsome bearing and cleverness, She with her flowerlike beauty and jadelike tenderness— Both of one heart and mind, you are ideal for matrimony. So much in love, a couple beyond compare!

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She is Weiniang of the hundred charms, You are Zhang Chang the romantic husband.64 (Speaks:) Let us go! (Sings:) You should certainly reward this matchmaker most handsomely. (Exits with Zhang Yu.)65 Servant Boy: Just look at my master: happily following the abbot into the sea and leaving me all alone on the shore to watch over these so-called treasures. If he really does become a bridegroom, I suspect he won’t emerge for a whole month. I’ve noticed that the young acolyte is not without charm, and since the old priest is no longer here, I’d best gather these few things together, then I’ll head straight back to the temple to play the knock-knock game with the acolyte.

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(Extra dressed as Dragon King enters with his marine attendant.) Dragon King (recites:) When the sun’s red wheel emerges from the east, Its blazing light does not make the way clear in the least. Although rarefied water extends for three thousand leagues, You can chart your course so long as you banish the selfish beast. I am the Dragon King of the Eastern Sea. It happened that my daughter Qionglian was taking an evening stroll at the Stone Buddha Temple. There she saw a young scholar playing his qin, and his tune suggested the song “Phoenix Seeking Mate.” As soon as their eyes met, they fell in love, and so she promised him a meeting at the Midautumn Festival. I said, “He is a mortal; how could he ever come to our sea palace”? Who could have known that he would meet an immortal and receive from her three treasures? With these he boiled the water to roiling until I could endure it no longer. I was reduced to begging Fayun, the abbot of the Stone Buddha Temple, to act as a go-between and to invite the young scholar to be my son-in-law. I have already received the go-between, rewarding him with wine and gifts bedecked with red flowers. Now I have had the wedding feast prepared. You there, marine attendant, request the young scholar and my daughter to enter! (Qionglian enters with Zhang Yu.) Qionglian: Advance to the front hall and do obeisance to my father and mother. Zhang: I will. Qionglian: Who would have thought the night we parted that there would come a day like this? (Sings:) [Shuangdiao mode: Song of New Water] And all because these waves separated us, making old friends distant, I feared that in these dark regions we would go our separate ways.

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But after a brief spell in living hell, Upon applying some death-defying measures, From the corner of the sea to the edge of the sky— The day did come when we’re reunited again. Zhang: What kinds of creatures are these here in the Dragon Palace? Qionglian (sings:) [Stop the Horse and Listen] The marine troops here drawn up in ranks include all these Sea-turtle generals, giant lizard scouts, terrapin ministers; As you can see, our sea slaves are none but Red-bearded shrimps, silver-footed crabs, and fish with iridescent scales. By these twelve embroidered curtains are arrayed pearls, Our wealth beyond measure: piles of gold and jade. Zhang: What opulence! Qionglian (sings:) Just you think: This Crystal Palace of ours is one grand place! (Qionglian and Zhang Yu make obeisance to the Dragon King.) Dragon King: Where did you two meet? Qionglian (sings:) [Golden Drops] I was enjoying myself on the clear, green waves. It was a splendid evening, a lovely scene: Thin mists and fleecy clouds, And the bright moon immersed in frosty air. Jade dewdrops dripped cold, Golden breezes sighed crisp, Midautumn was approaching. It was right when all was still, when none disturbed the first watch of the night. Dragon King: You had never met this scholar before—not to mention a meeting at first watch in the stillness of the night. How could you promise to marry him? Try explaining that to me. Qionglian (sings:) [Song for Breaking the Cassia Branch] Mounting the steps casually in the moonlight, I heard three rounds of playing on the qin: the music was not vulgar. It was like a crane crying from the clouds yonder, A wild goose calling from the edge of heaven, A raven singing on a branch. Just as he was looking for an oriole mate, a swallow companion,

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I was forlorn about being a solitary phoenix, a lonely simurgh. It is through this that one discerns who’s wise, who’s foolish, Distinguishes the intimates from the strangers. Indeed at the time, united in heart and mind, We were already inseparable like fish and water. Dragon King: You, young man, who gave you those magical treasures? Zhang: Poor scholar that I am, how could I obtain such treasures? After I pursued your daughter to the seashore, I happened to meet an immortal Daoist priestess who gave them to me. Dragon King: You almost killed me with the heat! I see that the whole affair was provoked by my daughter. Qionglian (sings:) [Wild Geese Alight] Who could have known that from this fire sole-mates emerge,66 From inside the rock precious jade is uncovered. At the edge of the sky are birds sharing wings, On earth are grown trees with intertwining trunks. Zhang: Without the magic treasures of the immortal, how could we have been united? Qionglian (sings:) [Victory Song] You undertook to smelt your lead and mercury till all runs dry— Didn’t you know that water cannot last where there is fire?67 You could have turned the great sea into swirling dust, As you boiled the Eastern Ocean with leaping flames. In fusing us together as man and wife, your divine magic Has nearly burned my family to death. (Immortal of Donghua enters.) Immortal: Dragon Spirit, heed my instructions. (Dragon King, Zhang Yu, and Qionglian kneel.) Dragon Spirit, scholar Zhang is not your son-in-law and Qionglian is not your daughter. In their former lives those two were Golden Lad and Jade Maiden of the Jasper Pool, but because they once harbored mortal passions, they were banished to the lower world. Having paid their karmic debt, they should quickly leave your sea palace and return to the Jasper Pool. Together they will confirm former ties and return to their positions as immortals. (All give thanks.) Qionglian (sings:) [Buy Good Wine] After we bid farewell to Dragon Palace and depart from the Sea Kingdom, We shall ascend azure vastness and head for the avenues of clouds.

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You and I together will meet the Sacred Mother at the Western Pool. How much better that will be, oh my scholar, than leaping over Dragon Gate, Breaking off a branch of the cassia, and following after the lunar toad!68 Immortal: How could the two of you return to the Immortal Realm at the Jasper Pool had I not come to guide you?69 Qionglian (sings:) [Peacetime Song] With Guang Chengzi’s lines on immortality in mind,70 You have determined that our marriage is propitious.71 With your guidance, the fairy maiden and fairy lad go together To assist in the offering of immortal wine and immortal peaches. May all the men and women who lack mates Not meet with hindrances, May the sincere ones all have their desires fulfilled. Immortal (declaims:) You were originally Jade Maiden and Golden Lad; Born into this mortal world, you have tarried here for some years. At the Stone Buddha Temple, you played the qin in the moonlit night, The song of “Phoenix Seeking Mate” love and passions did excite. Having promised a reunion, she was nowhere to be found; Wandering along the seashore, he was from hope unbound. An immortal priestess gave him treasures with divine power, And her wondrous plan was truly impossible for any to counter. They prepare the golden elixir, binding lead and mercury; By applying fire to water, scholar Zhang boiled the sea. Now as you return to your original state of being, Spread the clouds of rare fragrance far across the sky. (Qionglian and Zhang Yu bow, knocking their heads on the ground.) Qionglian (sings:) [Coda] Hand in hand, we rise to immortality now; The sea-gauze kerchief was not given as pledge in vain. Leisurely we’ll watch the peaches ripen to redness on treetops As we leave behind the boundless dusty earth and the sorrows of the sea.

Topic: In the Stone Buddha Temple the Dragon Girl Listens to the Qin Title: On Sand Gate Island Scholar Zhang Boils the Sea

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SchoLar Zhang BoILS the Sea t h e B e g i n n i n g o f ac t 2 i n WilloW Branch t ran SLat ed By Wa I- y e e L I

(Female Lead dressed as Hairy Maiden enters with four Females playing clappers and fisherman’s drums.) Hairy Maiden (recites:) A day of leisure is a day lived as immortal. Heaven and humans in harmony is for peace the portal. The Cinnabar Field has its treasure, there’s no need to seek the Way. Ask not about Zen meditation, when the mind does not externals obey. (Sings:) [Leaving the Ranks] Those who love wine are daring and overbearing, They inspire fear in others with their temper flaring. Among the ancients, Liu Ling lay in sandy wilds because of drinking, And there was Li Bo, from the river the moon’s splendor scooping. Wine untethers the mind as monkey, the will as horse.72 (Speaks:) Heaven turns to the One Center, parting the way for Creation. Humans from their hearts raise the Principles of Action. Could heavenly will and human will be two? The Way depends on humans to be true.73 (Sings:) [Same tune as above] Those who love sensual beauty would pay a steep price To entangle with a beauty whose charms them entice. Her grace and allure win praise beyond compare, To live and die for her they would wager. Sensual beauty untethers the mind as monkey, the will as horse. (Speaks:) One entity from the beginning has one body, One body yet has its cosmic principles of qian and kun. Know then that the myriad things are all my complements: Why would I establish myself apart with the three fundaments?74 (Sings:) [Same tune as above] As for those whom money has made bold, There was Shi Chong following the heroic mold. Glory and riches, of these there is no need to boast, Losing life and well-being, they were by the law exposed. Wealth untethers the mind as monkey, the will as horse. (Speaks:) Mulberry fields became seas and then fields again.

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A hundred years that pass in a trice, how can it be borne then? Move the Crown of the Gate and close the Turning Point,75 Who isn’t the god of Highest Heavens? (Sings:) [Same tune as above] Those driven by anger are hasty and reckless, This is fury that cannot help but be a menace. Right and wrong, the endless arguments go on, Inviting grief and disaster, all because of anger. Anger untethers the mind as monkey, the will as horse. [Same tune as above] I have taken leave of the Immortal of Wine, The love of sensual beauty to oblivion I consign. For the wealth of this world I will not strive, The breath of anger will not midair dissipation survive. I have tightly tethered the mind as monkey, the will as horse. (Four Females enter and bow:) We bow knocking our heads on the ground: let us go then and take pleasure roaming mountains and rivers. Hairy Maiden (sings:) [Ten Batons for the Drum] I have given up worldly goods And turned to the mountains and woods. I have built abodes with bamboo fences and thatched roofs, For proper enjoyment of red leaves and yellow blooms. I want to learn from Shao Ping of yonder days, Shao Ping who grew melons aplenty.76 I pick fresh new tea leaves, Look in leisure upon monkeys frolicking in the blue mountain, Upon deer and doe holding flowers in their mouths. A boat is moored at an ancient crossing. At the ancient crossing I tend the raft for fishing. One who has entered the Way is with worldly cares fully done. Having finished reading the Daoist Canon of Yellow Court in the setting sun, I claim the leisure to have the clapper beats on the fisherman’s drum begun. And so my life will flow. (Exit together.)

n ot eS 1. Note that the gender role is almost never reversed. 2. See Wai-yee Li, Enchantment and Disenchantment, 1–46. 3. It is a common allusion in late imperial fiction and drama. See chap. 7, this volume, n. 90. In the late fourteenth-century play by Wang Ziyi 王子一, Liu Chen and Ruan Zhao Wandered into the Peach

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Spring by Mistake (Liu Chen Ruan Zhao wuru taoyuan 劉晨阮肇誤入桃源), the two men get to return to the Immortal Realm and reunite with the goddesses. Qionglian overhears Zhang Yu playing the qin and falls in love with him through the music. This is a recurrent motif in romantic drama and appears also in The Western Chamber, The Eastern Wall, Qin Xiaoran Listens to the Qin in the Bamboo Grove (Qin Xiaoran zhuwu tingqin 秦翛然竹塢聽琴) by Shi Zizhang, and The Clever Maid Tricks the Hanlin Scholar into a Romance (Meixiang pian Hanlin fengyue 梅香騙翰林風月) by Zheng Dehui. Shang Zhongxian also wrote a play called Scholar Zhang Boils the Sea (Zhangsheng zhuhai 張生煮海), but it is no longer extant. Meng comments in Xin juan gujin mingju liuzhi ji, 387. See Zang Maoxun, YQX, 8:4292–4324; Meng Chengshun, Xin juan gujin mingju liuzhi ji, 387–97. Such an arrangement would make this play a “female text.” Meng Chengshun comments, “The female immortal as matchmaker is changed to the abbot of Stone Buddha Temple in the Wuxing edition. Now we observe that the arias do not suit the abbot’s tone, and we have thus made changes to follow the original edition” (Xin juan gujin mingju liuzhi ji, Zhangsheng zhuhai, 15b). The Immortal of Donghua (Eastern Splendor), also called the Lord of Wood, Lord of Eastern Wood, or Royal Lord of the East, is the male counterpart of Queen Mother of the West. In the Ming play Bian Daoxuan Loves the Way and Ascends to Immortality (Bian Daoxuan mudao shengxian 邊道玄慕道升 仙), the Immortal of Donghua declares himself in charge of “the harmonious breath of yang . . . Together with the Queen Mother of the West we managed two breaths. . . . In heavens above and below, the three realms and ten directions, men and women ascending to immortality are all under my charge.” That is, from the point before the beginning of time. Zhuangzi jishi 32.1047, “Lie Yukou” 列禦寇: “Sages return their spirits to the point of No Beginning and happily sleep in the Realm of Not Necessarily There.” These are terms describing the techniques of Daoist self-cultivation and can be applied to breathing exercises or alchemical processes. The “Three [Cinnabar] Fields” (Dantian 丹田) are identified as, respectively, the spot between the eyebrows, the area below the heart, and the space three inches below the navel. The “Golden Shoot” refers to both an elixir produced by alchemical procedure and the primal breath (yuanqi 元氣). In Daoist alchemy, “seven” stands for fire and “nine” stands for metal, and the elixir produced can revive the dead, an idea suggested by “round” and “return.” The Immortal of Donghua resides in the Daluo Heaven (translated here as “Highest Heavens”), the highest of thirty-six heavens in Daoist cosmology. The Queen Mother of the West offers peaches of immortality during the feast at Jasper Pool. This corresponds to Chaoyang in Guangdong province. Karmic debt (suzhai 宿債) is obligations incurred in a previous incarnation. Boya is a consummate player of the qin, and Zhong Ziqi (called Zhong Qi in the play) is famous for his discernment and appreciation of music. When Boya plays the qin with high mountains or flowing streams in mind, Zhong Ziqi can identify his intent right away. After Zhong dies, Boya breaks the strings of the qin and stops playing, declaring that there is none left who can understand his music. This story appears in a number of early texts; see, for example, Lüshi chunqiu jiaoshi 14.740; Huainanzi honglie jijie 19.654; Liu Xiang, Shuoyuan jinzhu jinyi 8.241; Hanshi waizhuan 9.369; Liezi jishi 5.178–79. Xunzi jishi 1.9, “Quan xue” 勸學: “In former times Huba would play the qin and the fish would emerge to listen.” Truly affecting music can move other sentient creatures. The text has “With Meixiang and Cuihe [Green Lotus]”—it seems from what follows that there is only one maid, and “Meixiang” is meant here as “maid.” Willow Branch: “The waves roll on, / Cut off from the Dusty Realm. / Tiny golden lotuses move in gentle steps.”

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19. The image of “dainty steps on the waves” (lingbo weibu 凌波微步) is derived from Cao Zhi’s poetic exposition “Goddess of the River Luo” (Luoshen fu 洛神賦) (Xiao Tong, Wenxuan 19.895–904). 20. The Willow Branch version has two more lines inserted here: “Truly there is gold everywhere one walks; / Indeed there is the tinkle of carved jade.” 21. In Daoist lore, there are thirty-six Cave Heavens and seventy-two Blessed Realms where immortals reside. They are, however, traditionally associated with the mountains rather than the seas. 22. Literally, “fingers like ten scallions” (zhi shi chong 指十葱); fingers are compared to the white part of trimmed scallions. 23. Literally, “shoes for half a bow” (xie ban gong 鞋半弓); these are shoes for tiny bound feet. Willow Branch: “My long skirt / Trails over embroidered shoes. / Long sleeves drape / All the way to my tiny feet.” 24. In a story from Liexian zhuan (ca. third century), Xiao Shi, a master flute player, marries Nongyu, the daughter of Lord Mu of Qin. One night, Xiao Shi attracts the phoenix with his flute music, and he flies away with Nongyu on the phoenix. The “fairy phoenix” is literally “the phoenix from Vermilion Mountain,” the latter being a designation of the Immortal Realm. See Liexian zhuan jiaojian, 80–84. 25. Willow Branch: “And the music is so full of heroic pathos!” 26. Willow Branch: “This is not the tinkling pendants of swaying skirts / That ring as she steps on jade steps. / The clear notes of iron horses in wind chimes on carved eaves, / The roll of painted drums on night watchtowers.” 27. This is probably an allusion to the description of pipa music in Bai Juyi’s “Lute Song”: “Pearls big and small drop on the jade basin” (Dazhu xiaozhu luo yupan 大珠小珠落玉盤); see Bai Juyi ji, 1:241–43. 28. This recalls another line from Bai Juyi’s “Lute Song”: “Lightly strumming, slowly pressing, she brushes and plucks” (Qinglong mannian moufutiao 輕攏慢撚抹復挑) (ibid.) Willow Branch: “This is indeed the Song of ‘Phoenix Seeking Its Mate.’ ” 29. On the story of Zhuo Wenjun’s eloping with Sima Xiangru after being moved by the latter’s qin music, see chap. 9, this volume, n. 5. Willow Branch: “Each elegant note on the silken string / Is like the cries of crows and cranes, laden with sorrow. / Better than the pipa, his qin allows for slow plucking and light strumming.” 30. The “golden strings” refer to the strings tying the strings of the qin; the lever is a piece of wood facilitating the movement of the strings. The phrase linglong 玲瓏 (“tinkle”) usually describes the sound of jade pendants; here the “jade lever” brings in the association. 31. This allusion combines two stories told of the Song poet Huang Tingjian (1045–1105) (in the original referred to by his style name Fuweng). The first is the story of how the courtesan Panpan pleases Huang by singing his lyrics and composing her own, the second a dream in which Huang meets a girl whom he later recognizes as the Dragon Maiden of Wu Cheng Mountain. 32. Willow Branch: “It cannot be that I have secretly ascended an earthly abode, / For it is exactly as if I have come to the immortal palace.” 33. According to qin lore, someone listening in secret would cause the string of the qin to snap. 34. Like Jade Maiden, Xu Feiqiong waits on the Queen Mother of the West and is afflicted by mortal passions. 35. This work by He Chengtian (340–447) is mentioned in Wei Zheng (580–643) et al., Suishu 33.990. Long (from the word for “dragon”) is a Chinese surname. 36. A young man declaring himself unmarried and being told off by a maid is a standard exchange in many romantic plays. 37. In “Poetic Exposition on Gaotang” (Gaotang fu 高唐賦), attributed to Song Yu (ca. fourth–third centuries b.c.e.), a Chu king dreams of sexual union with a goddess, who tells him that she will appear as

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cloud and rain on the Sunlit Terrace. Cloud, rain, and Sunlit Terrace (Yangtai) come to be standard kenning for sexual bliss (Xiao Tong, Wenxuan 19.875–76). That is, their union will be sublime, unlike the romantic dalliance in houses of pleasure. Qionglian is thereby declaring that she is not a courtesan. Mount Wu is associated with the goddess of Gaotang. On the story of Liu Chen and Ruan Zhao’s encounter with goddesses and stay in the Peach Spring Grotto, see chap. 7, this volume, n. 90. Willow Branch: “It is much better than being misled into the Peach Spring Grotto.” Silkworms of a type said to be found on Yuanqiao Mountain, an abode of immortals that rises out of the sea. They are seven inches long, black in color, and equipped with both horns and scales. They derive their name from the fact that only after they have been covered with frost and snow will they produce their iridescent silk, which is impervious to both fire and water. “Sea gauze” (jiaoxiao 鮫綃) is a marvelous silken fabric woven by merfolk. Here the two allusions are combined to indicate “sea gauze” spun from the silk produced by “ice silkworms.” Rakshasas are fast-moving, men-eating female demons that appear in Buddhist sutras. Literally, “Ruizhu Palace,” a palace in the Daoist paradise. The story of Zheng Jiaofu is told in Liexian zhuan: Zheng meets two female immortals at the bend of a river. They take off jade pendants hanging from their waists and give them to him, but before he has accompanied them very far along the riverbank, both they and the pendants have disappeared; see Liexian zhuan jiaojian, 52–57. Another reference to Liu Chen’s encounter with the goddess at Peach Spring Grotto. The account of the Hairy Maiden is found in Liexian zhuan: “The Hairy Maiden had the style name Yujiang. She lived on Huayin Mountain, and generations of hunters saw her. Her body was covered with hair. She said she was a palace lady of the first Qin emperor. When Qin fell, she fled to the mountains. A Daoist taught her to eat pine leaves, and she was thus no longer hungry or cold. By the Western Han, she was already a hundred and seventy years old” (Liexian zhuan jiaojian, 132–33; Taiping guangji 59.365). The nine sources of brightness in Buddhist astronomy: sun, moon, Mars, Lucifer (morning star), Jupiter, Venus, Saturn, comets, and zodiacal light. Three pairs of asterisms found in the constellation Ursa Major. Literally, “the eight or nine regions of the Yunmeng marshes,” which are located north and south of the Yangtze River on the western border of Hubei province and cover an area of eight or nine hundred li. Willow Branch: “For a carefree spree, there are the jasper islands and agate cliffs.” Willow Branch: “When she said ‘Long,’ it means she is the daughter of the dragon king.” The toad and the cassia, both associated with the moon, symbolize success in the examination. Willow Branch: “Give up your romantic sensibility and fine talent.” This lengthy aside in Anthology is not included in the Willow Branch version, which has instead a short account of how the acolyte kills the tiger by aiming a small stone at its throat. In both cases, one can say that the acolyte’s adventures have nothing to do with the plot but must have provided opportunities for miming and impromptu jokes. In this case, the acolyte’s “anal escape” might have been connected to the alleged homosexual exploits of monks, which were a staple of bawdy humor in late imperial literature. For the “phoenix glue,” see chap. 9, this volume, n. 87. Literally, “Who would have known that the lotus will grow in the fire?” The image is derived from the Vimalakīrti Sūtra, “The lotus growing in fire can be said to be rare indeed.” It also comes to mean how one achieves enlightenment despite (or because of ) travails and tribulations.

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56. In the Willow Branch version, the female lead enters: “I am the Fairy Mother of the Immortal Realm. Just as I was taking part in a feast in the Dragon Palace, we saw a scholar at the sea’s edge using something—God knows what it is—to get the seawater boiling. The Dragon King sent me to enlighten him. What is to be done!” For Meng Chengshun’s comment, see note 7. 57. Dragon kings are supposed to bring thunder and rain. See, for example, Journey to the West (Xiyou ji), chap. 10, and the Yuan play Liu Yi Delivers a Letter to Lake Dongting. 58. Literally, “Measuring out the sea by sheng and dou” (Dahai jianglai shengdou liang 大海將來升斗量): both sheng (about 1 quart) and dou (about 2.5 gallons) are units of measurement. In chap. 3, this volume, dou is translated as “peck.” See Huainanzi honglie jijie 20.665, “Taizu xun” 泰族訓: “One cannot measure Mount Tai by zhang and chi; one cannot measure the Yangtze River and the sea by dou and hu [ten dou]” (Taishan buke zhangchi ye jianghai buke douhu ye 泰山不可丈尺也，江海不可斗斛也); the Yuan play Young Yuchi Recognized His Father at the Battlefield and Returned to Court (Xiao Yuchi jiang dou jiang renfu guichao 小尉遲將鬬將認父歸朝): “In all cases a man cannot be judged by his appearance, just as the sea cannot be measured by the dou” (Fanren bukeyi maoxiang haishui bukeyi douliang 凡人不可以貌相，海水不可以斗量). These sayings usually mean how one fails to understand something or someone by applying inappropriate or inadequate categories of judgment. Here the abbot is turning the idiomatic expression upside down and showing his consternation about the sea running dry as Zhang measures it by the dou. Willow Branch: “Slow down with your burning! / Let go of this!” 59. Willow Branch: “Just because our lovely maiden / Singled you, handsome lad, for favor.” 60. Fusang is a sacred tree that grows in the sea and from which the sun is said to rise. Thus the expression has come to indicate the eastern horizon. 61. Literally, “weak water,” which is said to surround the Immortal Realm in the sea and which is so lacking in density that a feather dropped into it would sink like a stone. 62. A magnanimous person who understands and forgives everything is said to have a spirit “as wide and broad as the capacious sea” (kuanhong hailiang 寬洪海量). 63. This refers to a common ditty celebrating weddings: “Let his hat shine and bloom, / Today he will be the groom. / His sleeves are tight and fit, / Today he will be a darling and a hit” (Mao’er guangguang jinri zuoge xinlang xiu’er zhaizhai jinri zuoge jiaoke 帽兒光光，今日做個新郎。袖兒窄窄，今日做個 嬌客). Willow Branch: “That side is vast as the sky, / Truly a generosity encompassing all like the sea, / Just so that you, husband and wife, can come together.” 64. Du Weiniang was a singing girl of the Tang dynasty; her songs are included in the Tang miscellany Jiaofangji by Cui Lingqin (eighth century), 3. For Zhang Chang, see chap. 9, this volume, n. 19. 65. In Willow Branch, act 3 ends here. 66. “Sole-mate” is Patrick Hanan’s translation of bimuyu 比目魚 in The Invention of Li Yu, a flat fish with parallel eyes. This is a traditional image of conjugal bliss. 67. Literally, “water and fire cannot share the (same) stove.” The alchemical imagery is consistent in these two lines, for lead is associated with water and mercury with fire in Daoist prescriptions for refining gold from base metals. Thus, just as lead and mercury refer to the ingredients used by the scholar Zhang to boil the sea, so do water and fire represent the inevitable result of using such ingredients. 68. These are all stock expressions used to describe success in the imperial examinations. 69. Willow Branch includes another aria between “Buying Good Wine” and “Song of Peace,” “Happy Three”: “I see that the scene at the Golden City and Jasper Pool is far from mundane, / Truly it is worthy of being depicted in a painting. / Jade palace, pearl towers, and brocade are in hazy abundance, / As the tunes of Rainbow Skirts are played. / As the song of free roaming is done, / We can bow and dance together.” 70. Guang Chengzi was an immortal who explained the way of immortality to the Yellow Emperor.

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71. Literally, you have checked the books of divination to determine if and when we should get married. 72. A common idiom compares the mind to a monkey and the will to a horse. Thus Can tong qi 參同 契, a text on alchemy attributed to Wei Boyang (second century): “The mind, like a monkey, cannot be stilled; the will, like a horse, gallops in different directions.” See Zhang Yuchu, Shao Yizheng, and Zhang Guoxiang, Zhengtong Daozang, 34:407. The comparison of the mind to a monkey is ubiquitous in Journey to the West. 73. The second half (lines 5–8) of Shao Yong’s “Song of Observing the Changes” (Guan Yi yin 觀易吟), cited ibid., 39:618. 74. The first half (lines 1–4) of Shao Yong’s “Song of Observing the Changes.” The “three fundaments” are heaven, earth, and humans. Shao Yong is saying that no empty talk of the three fundaments is necessary if he recognizes the oneness of self and world. 75. “Crown of the Gate” (dingmen 頂門) and “Turning Point” (lizi 棙子) are technical terms that refer to the various points of the body in Daoist breathing exercises and self-cultivation. 76. Shao Ping was Lord of Dongling under the Qin. After the fall of the Qin, he made a living by growing melons. He advised the Han minister Xiao He on how to abnegate himself to avoid the Han emperor’s suspicion (Shiji 53.2017).

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T r a n s l aT i o n s f r o m T h e a s i a n C l a s s i C s Major Plays of Chikamatsu, tr. Donald Keene 1961 Four Major Plays of Chikamatsu, tr. Donald Keene. Paperback ed. only. 1961; rev. ed. 1997 Records of the Grand Historian of China, translated from the Shih chi of Ssu-ma Ch’ien, tr. Burton Watson, 2 vols. 1961 Instructions for Practical Living and Other Neo-Confucian Writings by Wang Yang-ming, tr. Wing-tsit Chan 1963 Hsün Tzu: Basic Writings, tr. Burton Watson, paperback ed. only. 1963; rev. ed. 1996 Chuang Tzu: Basic Writings, tr. Burton Watson, paperback ed. only. 1964; rev. ed. 1996 The Mahābhārata, tr. Chakravarthi V. Narasimhan. Also in paperback ed. 1965; rev. ed. 1997 The Manyōshū, Nippon Gakujutsu Shinkōkai edition 1965 Su Tung-p’o: Selections from a Sung Dynasty Poet, tr. Burton Watson. Also in paperback ed. 1965 Bhartrihari: Poems, tr. Barbara Stoler Miller. Also in paperback ed. 1967 Basic Writings of Mo Tzu, Hsün Tzu, and Han Fei Tzu, tr. Burton Watson. Also in separate paperback eds. 1967 The Awakening of Faith, Attributed to Aśvaghosha, tr. Yoshito S. Hakeda. Also in paperback ed. 1967 Reflections on Things at Hand: The Neo-Confucian Anthology, comp. Chu Hsi and Lü Tsu-ch’ien, tr. Wing-tsit Chan 1967 The Platform Sutra of the Sixth Patriarch, tr. Philip B. Yampolsky. Also in paperback ed. 1967 Essays in Idleness: The Tsurezuregusa of Kenkō, tr. Donald Keene. Also in paperback ed. 1967 The Pillow Book of Sei Shōnagon, tr. Ivan Morris, 2 vols. 1967 Two Plays of Ancient India: The Little Clay Cart and the Minister’s Seal, tr. J. A. B. van Buitenen 1968 The Complete Works of Chuang Tzu, tr. Burton Watson 1968 The Romance of the Western Chamber (Hsi Hsiang chi), tr. S. I. Hsiung. Also in paperback ed. 1968 The Manyōshū, Nippon Gakujutsu Shinkōkai edition. Paperback ed. only. 1969 Records of the Historian: Chapters from the Shih chi of Ssu-ma Ch’ien, tr. Burton Watson. Paperback ed. only. 1969 Cold Mountain: 100 Poems by the T’ang Poet Han-shan, tr. Burton Watson. Also in paperback ed. 1970 Twenty Plays of the Nō Theatre, ed. Donald Keene. Also in paperback ed. 1970

Chūshingura: The Treasury of Loyal Retainers, tr. Donald Keene. Also in paperback ed. 1971; rev. ed. 1997 The Zen Master Hakuin: Selected Writings, tr. Philip B. Yampolsky 1971 Chinese Rhyme-Prose: Poems in the Fu Form from the Han and Six Dynasties Periods, tr. Burton Watson. Also in paperback ed. 1971 Kūkai: Major Works, tr. Yoshito S. Hakeda. Also in paperback ed. 1972 The Old Man Who Does as He Pleases: Selections from the Poetry and Prose of Lu Yu, tr. Burton Watson 1973 The Lion’s Roar of Queen Śrīmālā, tr. Alex and Hideko Wayman 1974 Courtier and Commoner in Ancient China: Selections from the History of the Former Han by Pan Ku, tr. Burton Watson. Also in paperback ed. 1974 Japanese Literature in Chinese, vol. 1: Poetry and Prose in Chinese by Japanese Writers of the Early Period, tr. Burton Watson 1975 Japanese Literature in Chinese, vol. 2: Poetry and Prose in Chinese by Japanese Writers of the Later Period, tr. Burton Watson 1976 Love Song of the Dark Lord: Jayadeva’s Gītagovinda, tr. Barbara Stoler Miller. Also in paperback ed. Cloth ed. includes critical text of the Sanskrit. 1977; rev. ed. 1997 Ryōkan: Zen Monk-Poet of Japan, tr. Burton Watson 1977 Calming the Mind and Discerning the Real: From the Lam rim chen mo of Tsoṇ-kha-pa, tr. Alex Wayman 1978 The Hermit and the Love-Thief: Sanskrit Poems of Bhartrihari and Bilhaṇa, tr. Barbara Stoler Miller 1978 The Lute: Kao Ming’s P’i-p’a chi, tr. Jean Mulligan. Also in paperback ed. 1980 A Chronicle of Gods and Sovereigns: Jinnō Shōtōki of Kitabatake Chikafusa, tr. H. Paul Varley 1980 Among the Flowers: The Hua-chien chi, tr. Lois Fusek 1982 Grass Hill: Poems and Prose by the Japanese Monk Gensei, tr. Burton Watson 1983 Doctors, Diviners, and Magicians of Ancient China: Biographies of Fang-shih, tr. Kenneth J. DeWoskin. Also in paperback ed. 1983 Theater of Memory: The Plays of Kālidāsa, ed. Barbara Stoler Miller. Also in paperback ed. 1984 The Columbia Book of Chinese Poetry: From Early Times to the Thirteenth Century, ed. and tr. Burton Watson. Also in paperback ed. 1984

Poems of Love and War: From the Eight Anthologies and the Ten Long Poems of Classical Tamil, tr. A. K. Ramanujan. Also in paperback ed. 1985 The Bhagavad Gita: Krishna’s Counsel in Time of War, tr. Barbara Stoler Miller 1986 The Columbia Book of Later Chinese Poetry, ed. and tr. Jonathan Chaves. Also in paperback ed. 1986 The Tso Chuan: Selections from China’s Oldest Narrative History, tr. Burton Watson 1989 Waiting for the Wind: Thirty-six Poets of Japan’s Late Medieval Age, tr. Steven Carter 1989 Selected Writings of Nichiren, ed. Philip B. Yampolsky 1990 Saigyō, Poems of a Mountain Home, tr. Burton Watson 1990 The Book of Lieh Tzu: A Classic of the Tao, tr. A. C. Graham. Morningside ed. 1990 The Tale of an Anklet: An Epic of South India—The Cilappatikāram of Iḷaṇkō Aṭikaḷ, tr. R. Parthasarathy 1993 Waiting for the Dawn: A Plan for the Prince, tr. with introduction by Wm. Theodore de Bary 1993 Yoshitsune and the Thousand Cherry Trees: A Masterpiece of the Eighteenth-Century Japanese Puppet Theater, tr., annotated, and with introduction by Stanleigh H. Jones, Jr. 1993 The Lotus Sutra, tr. Burton Watson. Also in paperback ed. 1993 The Classic of Changes: A New Translation of the I Ching as Interpreted by Wang Bi, tr. Richard John Lynn 1994 Beyond Spring: Tz’u Poems of the Sung Dynasty, tr. Julie Landau 1994 The Columbia Anthology of Traditional Chinese Literature, ed. Victor H. Mair 1994 Scenes for Mandarins: The Elite Theater of the Ming, tr. Cyril Birch 1995 Letters of Nichiren, ed. Philip B. Yampolsky; tr. Burton Watson et al. 1996 Unforgotten Dreams: Poems by the Zen Monk Shōtetsu, tr. Steven D. Carter 1997 The Vimalakirti Sutra, tr. Burton Watson 1997 Japanese and Chinese Poems to Sing: The Wakan rōei shū, tr. J. Thomas Rimer and Jonathan Chaves 1997 Breeze Through Bamboo: Kanshi of Ema Saikō, tr. Hiroaki Sato 1998 A Tower for the Summer Heat, by Li Yu, tr. Patrick Hanan 1998 Traditional Japanese Theater: An Anthology of Plays, by Karen Brazell 1998

The Original Analects: Sayings of Confucius and His Successors (0479–0249), by E. Bruce Brooks and A. Taeko Brooks 1998 The Classic of the Way and Virtue: A New Translation of the Tao-te ching of Laozi as Interpreted by Wang Bi, tr. Richard John Lynn 1999 The Four Hundred Songs of War and Wisdom: An Anthology of Poems from Classical Tamil, The Puṛanāṇūṛu, ed. and tr. George L. Hart and Hank Heifetz 1999 Original Tao: Inward Training (Nei-yeh) and the Foundations of Taoist Mysticism, by Harold D. Roth 1999 Po Chü-i: Selected Poems, tr. Burton Watson 2000 Lao Tzu’s Tao Te Ching: A Translation of the Startling New Documents Found at Guodian, by Robert G. Henricks 2000 The Shorter Columbia Anthology of Traditional Chinese Literature, ed. Victor H. Mair 2000 Mistress and Maid (Jiaohong ji), by Meng Chengshun, tr. Cyril Birch 2001 Chikamatsu: Five Late Plays, tr. and ed. C. Andrew Gerstle 2001 The Essential Lotus: Selections from the Lotus Sutra, tr. Burton Watson 2002 Early Modern Japanese Literature: An Anthology, 1600–1900, ed. Haruo Shirane 2002; abridged 2008 The Columbia Anthology of Traditional Korean Poetry, ed. Peter H. Lee 2002 The Sound of the Kiss, or The Story That Must Never Be Told: Pingali Suranna’s Kalapurnodayamu, tr. Vecheru Narayana Rao and David Shulman 2003 The Selected Poems of Du Fu, tr. Burton Watson 2003 Far Beyond the Field: Haiku by Japanese Women, tr. Makoto Ueda 2003 Just Living: Poems and Prose by the Japanese Monk Tonna, ed. and tr. Steven D. Carter 2003 Han Feizi: Basic Writings, tr. Burton Watson 2003 Mozi: Basic Writings, tr. Burton Watson 2003 Xunzi: Basic Writings, tr. Burton Watson 2003 Zhuangzi: Basic Writings, tr. Burton Watson 2003 The Awakening of Faith, Attributed to Aśvaghosha, tr. Yoshito S. Hakeda, introduction by Ryuichi Abe 2005 The Tales of the Heike, tr. Burton Watson, ed. Haruo Shirane 2006 Tales of Moonlight and Rain, by Ueda Akinari, tr. with introduction by Anthony H. Chambers 2007 Traditional Japanese Literature: An Anthology, Beginnings to 1600, ed. Haruo Shirane 2007 The Philosophy of Qi, by Kaibara Ekken, tr. Mary Evelyn Tucker 2007

The Analects of Confucius, tr. Burton Watson 2007 The Art of War: Sun Zi’s Military Methods, tr. Victor Mair 2007 One Hundred Poets, One Poem Each: A Translation of the Ogura Hyakunin Isshu, tr. Peter McMillan 2008 Zeami: Performance Notes, tr. Tom Hare 2008 Zongmi on Chan, tr. Jeffrey Lyle Broughton 2009 Scripture of the Lotus Blossom of the Fine Dharma, rev. ed., tr. Leon Hurvitz, preface and introduction by Stephen R. Teiser 2009 Mencius, tr. Irene Bloom, ed. with an introduction by Philip J. Ivanhoe 2009 Clouds Thick, Whereabouts Unknown: Poems by Zen Monks of China, Charles Egan 2010 The Mozi: A Complete Translation, tr. Ian Johnston 2010 The Huainanzi: A Guide to the Theory and Practice of Government in Early Han China, by Liu An, tr. John S. Major, Sarah A. Queen, Andrew Seth Meyer, and Harold D. Roth, with Michael Puett and Judson Murray 2010 The Demon at Agi Bridge and Other Japanese Tales, tr. Burton Watson, ed. with introduction by Haruo Shirane 2011 Haiku Before Haiku: From the Renga Masters to Bashō, tr. with introduction by Steven D. Carter 2011 The Columbia Anthology of Chinese Folk and Popular Literature, ed. Victor H. Mair and Mark Bender 2011

Tamil Love Poetry: The Five Hundred Short Poems of the Aiṅkuṟunūṟu, tr. and ed. Martha Ann Selby 2011 The Teachings of Master Wuzhu: Zen and Religion of NoReligion, by Wendi L. Adamek 2011 The Essential Huainanzi, by Liu An, tr. John S. Major, Sarah A. Queen, Andrew Seth Meyer, and Harold D. Roth 2012 The Dao of the Military: Liu An’s Art of War, tr. Andrew Seth Meyer 2012 Unearthing the Changes: Recently Discovered Manuscripts of the Yi Jing (I Ching) and Related Texts, Edward L. Shaughnessy 2013 Record of Miraculous Events in Japan: The Nihon ryōiki, tr. Burton Watson 2013 The Complete Works of Zhuangzi, tr. Burton Watson 2013 Lust, Commerce, and Corruption: An Account of What I Have Seen and Heard, by an Edo Samurai, tr. and ed. Mark Teeuwen and Kate Wildman Nakai with Miyazaki Fumiko, Anne Walthall, and John Breen 2014 Exemplary Women of Early China: The Lienü zhuan of Liu Xiang, tr. Anne Behnke Kinney 2014 The Resurrected Skeleton: From Zhuangzi to Lu Xun, by Wilt L. Idema 2014 The Sarashina Diary: A Woman’s Life in EleventhCentury Japan, by Sugawara no Takasue no Musume, tr. with introduction by Sonja Arntzen and Itō Moriyuki