By David Tod Roy
This is often the 5th and ultimate quantity in David Roy's celebrated translation of 1 of the main recognized and critical novels in chinese language literature. The Plum within the Golden Vase or, Chin P'ing Mei is an nameless sixteenth-century paintings that specializes in the family lifetime of Hsi-men Ch'ing, a corrupt, upwardly cellular service provider in a provincial city, who keeps a harem of six better halves and concubines. the radical, recognized basically for its erotic realism, is additionally a landmark within the improvement of the narrative paintings form--not purely from a in particular chinese language viewpoint yet in a world-historical context.
Written through the moment 1/2 the 16th century and primary released in 1618, The Plum within the Golden Vase is famous for its strangely smooth method. With the prospective exception of the story of Genji (ca. 1010) and Don Quixote (1605, 1615), there is not any previous paintings of prose fiction of equivalent sophistication in global literature. even though its significance within the heritage of chinese language narrative has lengthy been famous, the technical virtuosity of the writer, that's extra resembling the Dickens of Bleak residence, the Joyce of Ulysses, or the Nabokov of Lolita than something in previous chinese language fiction, has now not but acquired sufficient acceptance. this can be in part simply because all the current ecu translations are both abridged or in keeping with an inferior recension of the textual content. this entire and annotated translation goals to faithfully signify and elucidate the entire rhetorical good points of the unique in its so much genuine shape and thereby permit the Western reader to understand this chinese language masterpiece at its real worthy.
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Additional info for The Plum in the Golden Vase or, Chin P'ing Mei, Volume 5: The Dissolution
Example text
Kuei-ch’ing. See Li Kuei-ch’ing. Kung Kuai (1057–1111), left provincial administration commissioner of Shantung. K’ung, Auntie, go-between in Ch’ing-ho who represents Ch’iao Hung’s family in arranging the betrothal of Ch’iao Chang-chieh to Hsi-men Kuan-ko. K’ung family of the Eastern Capital, family into which P’ang Ch’un-mei is reincarnated as a daughter. Kuo Shou-ch’ing, senior disciple of Shih Po-ts’ai, the corrupt Taoist head priest of the Temple of the Goddess of Iridescent Clouds on the summit of Mount T’ai.
Kou Tzu-hsiao, professional actor from Su-chou who specializes in playing male lead roles. Ku, Silversmith, jeweler in Ch’ing-ho patronized by Li P’ing-erh and Hsi-men Ch’ing, employer of Lai-wang after he returns to Ch’ing-ho from exile in Hsü-chou. Kuan, Busybody. See Kuan Shih-k’uan. Kuan-ko. See Hsi-men Kuan-ko. Kuan Shih-k’uan, Busybody Kuan, a dissolute young scamp upon whom Hsimen Ch’ing turns the tables by abusing the judicial system. Kuan-yin Nunnery, abbess of, superior of Nun Wang, frequent visitor in the Hsi-men household.
See Li Kuei-chieh. Kuei-ch’ing. See Li Kuei-ch’ing. Kung Kuai (1057–1111), left provincial administration commissioner of Shantung. K’ung, Auntie, go-between in Ch’ing-ho who represents Ch’iao Hung’s family in arranging the betrothal of Ch’iao Chang-chieh to Hsi-men Kuan-ko. K’ung family of the Eastern Capital, family into which P’ang Ch’un-mei is reincarnated as a daughter. Kuo Shou-ch’ing, senior disciple of Shih Po-ts’ai, the corrupt Taoist head priest of the Temple of the Goddess of Iridescent Clouds on the summit of Mount T’ai.
