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9789004191662.Pdf The Novel and Theatrical Imagination in Early Modern China Sinica Leidensia Edited by Barend J. ter Haar Maghiel van Crevel In co-operation with P.K. Bol, D.R. Knechtges, E.S. Rawski, W.L. Idema, H.T. Zurndorfer VOLUME 101 The Novel and Theatrical Imagination in Early Modern China By Mei Chun LEIDEN • BOSTON 2011 On the cover: “Shi Jin and Liu Tang,” from Shuihu quantu 水滸全圖, Yuedong zangxiutang 粵東臧修堂, 1882. This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Mei, Chun, 1976– The novel and theatrical imagination in early modern China / by Mei Chun. p. cm. — (Sinica leidensia, ISSN 0169-9563 ; 101) Includes bibliographical references and index. ISBN 978-90-04-19166-2 (hardback : alk. paper) 1. Chinese fiction—Yuan dynasty, 1260–1368—History and criticism. 2. Chinese fiction—Ming dynasty, 1368–1644—History and criticism. 3. Theater in literature. 4. Shui hu zhuan. 5. Wu, Cheng’en, ca. 1500–ca. 1582. Xi you ji. I. Title. II. Series. PL2432.5.M45 2011 895.1’34809—dc22 2010046686 ISSN 0169-9563 ISBN 978 90 04 19166 2 Copyright 2011 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Hotei Publishing, IDC Publishers, Martinus Nijhoff Publishers and VSP. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. To my parents, Mei Fazhu and Zhang Youfang CONTENTS Acknowledgements ............................................................................ ix Figures ................................................................................................. xi Introduction ........................................................................................ 1 Part I Xi in Early Modern Context Chapter One Theatrum Mundi: The Theatrical, the Playful, the Ephemeral ...................................................... 13 Chapter Two The Structuring of Xi in Illustrations and a Prologue Theatrical .......................................... 35 Part II Playful Theatricals: Shuihu zhuan and Xiyou ji Chapter Three Staging, Spectacles, and Acts of Recognition ........................................................... 79 Chapter Four Staging, Mimicry, and Acts of Appropriation ...................................................... 109 Chapter Five Acting, Quren, and the Authenticity of Incongruity ........................................................... 139 Chapter Six Acting, Jiaren, and the Artifice of Congruity .............................................................. 167 Chapter Seven Viewing: Perceptive and Fleshly Eyes .............. 191 Part III Didactic Theater versus Playful Theatricals Chapter Eight Tropes of Theater in Zhishang chuntai and Wusheng xi ........................................................... 221 Epilogue ............................................................................................... 251 Bibliography ........................................................................................ 257 Index .................................................................................................... 271 ACKNOWLEDGEMENTS This work would not have come into existence without the patient guidance of Professor Robert E. Hegel. Not only is he an excellent sounding board for tentative ideas, but also the epitome of a teacher and scholar. I am grateful beyond words to have had Dr. Hegel as my advisor during my years at Washington University in Saint Louis. I am also grateful to the anonymous reader for Brill whose salient comments and detailed critique were instrumental in strengthening and sharpening my arguments; and, to Patricia Radder for her profes- sionalism and for guiding me through the publication process. Many thanks go to my teachers at Washington University in Saint Louis and my colleagues at Central Washington University. Particular thanks to Professor Beata Grant for urging me to practice straightfor- ward writing, to Professor L. Letty Chen for challenging me to engage in theoretical thinking, to Professors Robert Henke, Steven Miles, and Elizabeth Oyler for their helpful comments, and to Professors Joshua Nelson, James Cook, and Nathalie Kasselis-Smith for their friendship, their belief in, and support of this project. This project began during a graduate seminar on Shuihu zhuan with Professor Hegel in 1999. I thank my cohort and friends for their dis- cussions and input, particularly Luo Manling, Zhang Jie, and Zhang Jing. A scholarship from the Association of International Education, Japan, and an assistantship from Washington University in Saint Louis allowed me to conduct research at the University of Tsukuba, Japan and in Beijing, China in 2003. A dissertation fellowship from Washington University in Saint Louis further enabled me to stay in Champaign, Illinois, to work on the project. I want to thank Professor Rania Huntington and the East Asia reading group at the University of Illinois for their input on this project. Portions of this work were presented at the Association for Asian Studies Annual Meeting and the Midwest Conference on Asian Affairs Annual Meeting in 2005. I want to thank the discussants Professors Catherine Swatek and David Rolston, and Professor Katherine Carlitz, for offering enlightening comments. Lane has brought love and laughter into my life that seasoned the writing of this monograph. He read and edited drafts of all the x acknowledgements chapters, often many versions of them, with good humor and patience. This book has been as much a part of his life as mine. This book is dedicated to my parents, Mei Fazhu and Zhang You- fang, who taught me to love and treasure Chinese literature and the humanities when I was young. Note on Romanization For the sake of consistency, the Wade-Giles romanizations of Chinese terms and names in quoted translations have been converted to pinyin. FIGURES 2.1 “Qing neiting xitai” 清內廷戲臺 (The imperial theater of the Qing court). ......................................................................... 39 2.2 Qiu Ying’s 仇英 (ca. 1494–ca. 1552) rendition of “Qingming shanghe tu” 清明上河圖 (Going to the river on Qingming). ........................................................................... 40 2.3 “Nandu fanhui jingwu tujuan” 南都繁會景物圖卷 (A scroll of scenery from the prosperous Southern Capital). ....................................................................................... 41 2.4 Illustrations from (a) “Yuan Shi yiquan” 袁氏義犬 (The loyal dog of the Yuan family), in Sheng Ming zaju yiji 盛明雜劇一集 (Variety plays from the High Ming, Vol. 1), juan 11, Songfentang edition, 1629; (b) “Tongjia hui” 同甲會 (The meeting of people of the same age), in Sheng Ming zaju erji 盛明雜劇二集 (Variety plays from the High Ming, Vol. 2), juan 10, Songfentang edition, 1641. ............................................................................................ 43 2.5 Illustrations from (a) “Hehua dang” 荷花蕩 (The lotus marsh), Chongzhen edition, in Guben xiqu congkan erji 古本戲曲叢刊二集, vol. 9; (b) “Ximen Qing guan xi” 西門慶觀戲 (Ximen Qing watching theater) from Jin Ping Mei cihua, Chongzhen edition. ..................................... 45 2.6 Illustration from “Yuhe ji” 玉合記 (The tale of a jade box), Rongyutang edition, ca. 1607–1619. ...................................... 46 2.7 Illustration from “Longshan yan” 龍山宴 (A banquet at Longshan), Sheng Ming zaju erji, juan 9. ............................. 47 2.8 Illustration from (a) “Huanhun ji” 還魂記 (Tale of a retuning soul); (b) “Cheng’en ci yuyan” 承恩賜御宴 (The imperial banquet bestowed with the emperor’s favor), Zhongyi Shuihu zhuan, late Wanli edition. .......................... 47 2.9 Illustrations from (a) Sui Tang yanyi 隋唐演義 (Romance of the Sui and Tang), Changzhou Chushi Sixuecaotang 長洲褚氏四雪草堂 edition, 1695; (b) “Yan Qing wrestling,” Li Zhuowu xiansheng piping Shuihu zhuan 李卓吾先生批評忠義水滸傳 (Shuihu zhuan with commentaries by Mr. Li Zhuowu), Rongyutang edition, 1610. ............................................................................................ 48 xii figures 2.10 Illustration from “Nü zhuangyuan” 女狀元 (The female zhuangyuan), Sheng Ming zaju yiji, juan 8. ....................... 50 2.11 The two juanshou illustrations for “Dangui tianhe” 丹桂鈿合 (Dangui and the jewel box), Sheng Ming zaju erji, juan 14. ............................................................................. 51 2.12 Illustration from “Zhen kuilei” 真傀儡 (The real puppet), in Sheng Ming zaju yiji, juan 26. .......................................... 52 2.13 Illustrations from (a) “Ji xianfeng dongguo zhenggong” 急先鋒東郭爭功 (The Impetuous Vanguard vies for merit in the eastern outer city), Li Zhuowu xiansheng piping Shuihu zhuan; (b) “Beijing yuanzhan” 北京轅戰 (The battle in Beijing city gate),Zhongyi Shuihu zhuan. ........................................................................................ 53 2.14 Illustrations from (a) Chapter 7 juanshou illustration, Li Zhuowu xiansheng piping Shuihu zhuan; (b) “Caiyuan xiangyu” 菜園相遇 (Meeting at the vegetable garden), Zhongyi Shuihu zhuan. ........................................................... 55 2.15 Illustration from Shuihu
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