The Plum in the Golden Vase or, Chin P'ing Mei

by Roy, David Tod

  27. This four-character expression occurs in a song by Kuan Han-ch’ing (13th century), Ch’üan Yüan san-ch’ü, 1:162, l. 7; [Chi-p’ing chiao-chu] Hsi-hsiang chi, play no. 3, scene 2, p. 112, l. 3; two anonymous song suites in Yung-hsi yüeh-fu, ts’e 11, p. 66b, l. 7; and ts’e 13, p. 57a, ll. 5–6; a song suite by Liang Ch’en-yü (1519–91), Ch’üan Ming san-ch’ü, 2:2206, l. 8; and a song suite by Chang Feng-i (1527–1613), ibid., 3:2610, l. 4.

  28. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., Yüan-ch’ü hsüan wai-pien, 1:235, l. 13; Han Yüan-shuai an-tu Ch’en-ts’ang, scene 2, p. 11a, l. 5; San-kuo chih t’ung-su yen-i, vol. 1, chüan 4, p. 176, l. 24; Shui-hu ch’üan-chuan, vol. 2, ch. 39, p. 629, l. 8; T’ang-shu chih-chuan t’ung-su yen-i, vol. 1, chüan 1, p. 8a, l. 10; Nan Sung chih-chuan, vol. 1, chüan 4, p. 21b, l. 10; Lieh-kuo chih-chuan, vol. 1, chüan 3, p. 14a, l. 4; Hsi-yu chi, vol. 1, ch. 16, p. 184, l. 4; Ch’üan-Han chih-chuan, vol. 2, chüan 2, p. 12a, ll. 9–10; Ko tai hsiao (A song in place of a shriek), attributed to Hsü Wei (1521–93), in Ssu-sheng yüan, scene 3, p. 142, l. 5; San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 1, ch. 14, p. 177, l. 8; Mu-tan t’ing, scene 45, p. 223, l. 12; Ts’an-T’ang Wu-tai shih yen-i chuan, ch. 49, p. 197, ll. 10–11; Ta-T’ang Ch’in-wang tz’u-hua, vol. 1, chüan 3, ch. 20, p. 43b, l. 7; Sui-T’ang liang-ch’ao shih-chuan, chüan 6, ch. 58, p. 45b, l. 2; and an abundance of other occurrences, too numerous to list.

  29. This four-character expression occurs in Ta-Sung chung-hsing yen-i, vol. 1, chüan 2, p. 43a, l. 8; T’ang-shu chih-chuan t’ung-su yen-i, chüan 3, p. 24a, l. 11; Nan Sung chih-chuan, vol. 1, chüan 5, p. 27a, l. 10; and Yang-chia fu shih-tai chung-yung yen-i chih-chuan, vol. 2, chüan 5, p. 40b, l. 2.

  30. This formulaic five-character expression occurs in Shui-hu ch’üan-chuan, vol. 3, ch. 80, p. 1319, l. 4; Ta-Sung chung-hsing yen-i, vol. 1, chüan 4, p. 15b, l. 10; Nan Sung chih-chuan, vol. 1, chüan 4, p. 21b, l. 6; Pei Sung chih-chuan, vol. 2, chüan 2, p. 20a, l. 6; San Sui p’ing-yao chuan, chüan 3, ch. 13, p. 35b, l. 1; Lieh-kuo chih-chuan, vol. 2, chüan 4, p. 69a, l. 5; Ts’an-T’ang Wu-tai shih yen-i chuan, ch. 37, p. 151, l. 21; and Ta-T’ang Ch’in-wang tz’u-hua, vol. 1, chüan 2, ch. 15, p. 68b, l. 2.

  31. Variants of this proverbial couplet occur in Kuan-shih-yin p’u-sa pen-hsing ching, p. 66b, l. 5; Pao-chien chi, scene 12, p. 26, l. 23; and San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 1, ch. 47, p. 611, l. 6. It occurs in the same form as in the novel in a poem by the Buddhist monk Chih-yü (1185–1269), Ch’üan Sung shih, 57:35914, l. 1; the thirteenth-century encyclopedia Shih-lin kuang-chi (Expansive gleanings from the forest of affairs), fac. repr. of fourteenth-century ed. (Peking: Chung-hua shu-chü, 1963), ch’ien-chi, chüan 9, p. 9a, l. 4; Ming-hsin pao-chien, chüan 2, p. 6a, ll. 12–13; Hsiao Sun-t’u, scene 15, p. 312, l. 1; Yüan-ch’ü hsüan, 1:345, l. 12; and 2:770, l. 8; Yüan-ch’ü hsüan wai-pien, 3:919, l. 10; I-k’u kuei lai tao-jen ch’u-kuai, p. 194, l. 11; a song suite by Liu Shih-chung (14th century), Ch’üan Yüan san-ch’ü, 1:676, ll. 13–14; P’i-p’a chi, scene 16, p. 100, l. 6; Yu-kuei chi, scene 6, p. 14, l. 4; Jen chin shu ku-erh hsün-mu, hsieh-tzu (wedge), p. 8b, ll. 4–5; Pao Lung-t’u Ch’en-chou t’iao-mi (The story of Academician Pao and the sale of rice in Ch’en-chou), originally published in the 1470s, in Ming Ch’eng-hua shuo-ch’ang tz’u-hua ts’ung-k’an, ts’e 4, p. 18b, l. 5; Hsün-ch’in chi, scene 12, p. 35, l. 1; Yen-chih chi, chüan 2, scene 39, p. 31a, l. 8; Mu-lien chiu-mu ch’üan-shan hsi-wen, chüan 2, p. 29a, l. 5; and Ta-T’ang Ch’in-wang tz’u-hua, vol. 2, chüan 8, ch. 57, p. 10b, l. 2. The two lines of the couplet occur in reverse order in [Hsin-pien] Wu-tai shih p’ing-hua, p. 20, l. 7; and the second line also occurs independently in Hsiao Sun-t’u, scene 11, p. 300, l. 14; Yüan-ch’ü hsüan, 2:638, ll. 9–10; Shuang-chu chi, scene 5, p. 14, l. 2; the middle-period vernacular story Ch’en K’o-ch’ang Tuan-yang hsien-hua (Ch’en K’o-ch’ang is transfigured on the Dragon Boat Festival), in Ching-shih t’ung-yen, chüan 7, p. 83, l. 15; the tsa-chü drama Seng-ni kung-fan (A monk and a nun violate their vows), by Feng Wei-min (1511–80), in Ming-jen tsa-chü hsüan, scene 2, p. 341, l. 10; and Ssu-sheng yüan, play no. 2, scene 1, p. 21, l. 12.

  32. A synonymous variant of this four-character expression occurs in the anonymous Ming tsa-chü drama Liang-shan ch’i-hu nao T’ung-t’ai (The seven tigers of Liang-shan raid T’ung-t’ai), in Ming-jen tsa-chü hsüan, scene 4, p. 654, l. 11.

  33. This four-character expression occurs in Yüan-ch’ü hsüan, 2:574, l. 7; Yu-kuei chi, scene 6, p. 13, l. 2; Chiao-hsiao chi, chüan 2, scene 27, p. 31b, l. 1; and Shui-hu ch’üan-chuan, vol. 2, ch. 34, p. 533, l. 14.

  34. A synonymous variant of this four-character expression occurs in an essay written in 811 by Han Yü (768–824), Han Ch’ang-li wen-chi chiao-chu (The prose works of Han Yü with critical annotation), ed. Ma T’ung-po. (Shanghai: Ku-tien wen-hsüeh ch’u-pan she, 1957), chüan 8, p. 329, l. 9; and the biography of Han Ch’üan-hui (d. 903), in Hsin T’ang shu (New history of the T’ang dynasty), comp. Ou-yang Hsiu (1007–72) and Sung Ch’i (998–1061), 20 vols. (Peking: Chung-hua shu-chü, 1975), vol. 19, chüan 208, p. 5900, l. 13. It occurs in the same form as in the novel in Shui-hu ch’üan-chuan, vol. 4, ch. 95, p. 1522, l. 8; Nan Sung chih-chuan, vol. 1, chüan 2, p. 4a, l. 2; Pei Sung chih-chuan, vol. 2, chüan 5, p. 7b, l. 12; the Ming dynasty ch’uan-ch’i drama Ching-chung chi (A tale of perfect loyalty), Liu-shih chung ch’ü ed., scene 10, p. 22, l. 7; and Yang-chia fu shih-tai chung-yung yen-i chih-chuan, vol. 1, chüan 4, p. 20b, l. 4.

  35. The first four characters of this line occur in a lyric by Ts’ai Shen (1088–1156), Ch’üan Sung tz’u, 2:1006, upper register, l. 10; Yüan-ch’ü hsüan, 4:1390, l. 15; Yüan-ch’ü hsüan wai-pien, 3:777, l. 17; a song by Hsüeh Ang-fu (14th century), Ch’üan Yüan san-ch’ü, 1:704, l. 8; and an anonymous Yüan dynasty song suite, ibid., 2:1791, l. 10.

  36. Versions of this poem, with some textual discrepancies and lines in a different order, occur in [Hsin-pien] Wu-tai shih p’ing-hua, p. 9, ll. 11–12; the early vernacular story Wan Hsiu-niang ch’ou-pao shan-t’ing-erh (Wan Hsiu-niang gets her revenge with a toy pavilion), in Ching-shih t’ung-yen, chüan 37, p. 557, ll. 12–13; and Shui-hu ch’üan-chuan, vol. 1, ch. 22, p. 332, ll. 6–7. The version in the novel is closest to that in Shui-hu ch’üan-chuan, which is its probable source.

  37. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., the early vernacular story Chao Po-sheng ch’a-ssu yü Jen-tsung (Chao Po-sheng encounters Emperor Jen-tsung in a tea shop), in Ku-chin hsiao-shuo, vol. 1, chüan 11, p. 168, l. 5; Chao-shih ku-erh chi, chüan 1, scene 9, p. 17b, l. 3; P’o-yao chi, chüan 1, scene 2, p. 5b, l. 9; Chin-yin chi, chüan 1, scene 1, p. 1a, l. 8; Hsiu-ju chi, scene 28, p. 76, l. 4; an anonymous song suite in Yung-hsi yüeh-fu, ts’e 7, p. 27a, l. 1; Huan-sha chi, scene 12, p. 39, l. 7; Pa-i chi, scene 9, p. 20, l. 10; Hsi-yu chi, vol. 1, ch. 44, p. 506, l. 6; Pai-chia kung-an, chüan 1, p. 10a, l. 11; and San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 2, ch. 87, p. 1127, l. 2.

  38. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., [Chi-p’ing chiao-chu] Hsi-hsiang chi, play no. 2, scene 3, p. 70, l. 8; Ch’in ping liu-kuo p’ing-hua, p. 27, l. 6; Sha-kou chi, scene 24, p. 92, l. 2; Liang-shan ch’i-hu nao T’ung-t’ai, scene 4, p. 657, l. 14; Chung-ch’ing li-chi, chüan 6, p. 8b, ll. 6–7; Chiang Shih yüeh-li chi, chüan 2, scene 20, p. 10a, l. 5; T’ang-shu chih-chuan t’ung-su yen-i, vol. 1, chüan 4, p. 18a, l. 2; Yang-chia fu shih-tai chung-yung yen-i chih-chuan, vol. 1, chüan 3, p. 35a, l. 2; and an abundance of other occurrences, too numerous to list.

  39. A variant of this proverbial couplet occurs in Yüan-ch’ü hsüan, 3:865, l. 17; and Yüan-ch’ü hsüan wai-pien, 2:499, l. 12.

  40. A passage very similar to these four lines occurs in Pao-chien chi, scene 45, p. 81, ll. 13–15, which is probably their proximate sou
rce.

  41. On this couplet, see Roy, The Plum in the Golden Vase, vol. 2, chap. 26, n. 61.

  42. This formulaic four-character expression occurs in a speech by the Buddhist monk Ch’ung-hui (10th century), Wu-teng hui-yüan, vol. 3, chüan 16, p. 1043, l. 10; a gatha by the Buddhist monk Huai-shen (1077–1132), Ch’üan Sung shih, 24:16119, l. 5; Hsüan-ho i-shih, p. 49, l. 11; Nan Sung chih-chuan, vol. 1, chüan 3, p. 25a, l. 6; and an abundance of other occurrences, too numerous to list.

  43. The locus classicus for this aphorism is the Lun-yü (The analects of Confucius). See Lun-yü yin-te (A concordance to the Analects) (Taipei: Chinese Materials and Research Aids Service Center, 1966), p. 31, book 15, paragraph 12. It occurs ubiquitously in later Chinese literature. See, e.g., T’ai-kung chia-chiao, p. 20, l. 12; the prose preface to an encomium by the Buddhist monk I-ch’ing (1032–83), Ch’üan Sung shih, 12:8227, l. 2; Kuan-shih-yin p’u-sa pen-hsing ching, p. 46b, l. 4; Hsiao Sun-t’u, scene 10, p. 294, l. 15; Yüan-ch’ü hsüan, 3:1149, l. 8; Ming-hsin pao-chien, chüan 2, p. 6a, l. 2; Sha-kou chi, scene 6, p. 11, l. 4; Chin-yin chi, chüan 4, scene 42, p. 21b, l. 7; Yüeh Fei p’o-lu tung-ch’uang chi, chüan 2, scene 21, p. 33a, l. 10–p.33b, l. 1; San-kuo chih t’ung-su yen-i, vol. 2, chüan 13, p. 589, l. 1; Yü-huan chi, scene 22, p. 82, l. 8; Ming-feng chi, scene 10, p. 41, l. 8; Mu-lien chiu-mu ch’üan-shan hsi-wen, chüan 3, p. 52b, ll. 7–8; T’ou-pi chi, chüan 2, scene 22, p. 8a, l. 6; and a host of other occurrences, too numerous to list. The first line of the aphorism also occurs independently in a long poem by Emperor T’ai-tsung of the Sung dynasty (r. 976–97), Ch’üan Sung shih, 1:367. l. 13; and an anonymous song suite in Yung-hsi yüeh-fu, ts’e, 6, p. 66a, l. 1.

  44. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., Yüan-ch’ü hsüan, 2:492, l. 14; Yüan-ch’ü hsüan wai-pien, 1:335, l. 5; Sha-kou chi, scene 17, p. 59, l. 10; Nü ku-ku shuo-fa sheng-t’ang chi, scene 2, p. 5a, l. 12; the anonymous early Ming tsa-chü drama Huang-hua Yü tieh-ta Ts’ai Ko-ta (Ts’ai the Blister gets his comeuppance in Chrysanthemum Valley), in Ch’ün-yin lei-hsüan, 3:1835–67, scene 3, p. 1860, l. 8; Chin-ch’ai chi, scene 18, p. 38, l. 2; Yü-huan chi, scene 31, p. 110, l. 12–p. 111, l. 1; San-kuo chih t’ung-su yen-i, vol. 2, chüan 18, p. 839, l. 3; Shui-hu ch’üan-chuan, vol. 1, ch. 10, p. 156, ll. 4–5; a song by Ch’en To (fl. early 16th century), Ch’üan Ming san-ch’ü, 1:542, l. 5; Mu-lien chiu-mu ch’üan-shan hsi-wen, chüan 1, p. 60b, l. 3; Ko tai hsiao, scene 4, p. 155, l. 10; San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 2, ch. 58, p. 742, l. 12; Shih-hou chi, scene 13, p. 43, l. 6; and an abundance of other occurrences, too numerous to list.

  45. This four-character expression occurs in a lyric by Ch’iu Chün (1421–95), Ch’üan Ming tz’u, 1:274, upper register, l. 5; [Hsiao-shih] Chen-k’ung sao-hsin pao-chüan, 19:222, l. 2; Erh-lang Shen so Ch’i-t’ien Ta-sheng, scene 3, p. 719, l. 9; and Hsi-yu chi, vol. 2, ch. 73, p. 837, l. 10.

  46. The ultimate source of this line is a passage in the Tso-chuan under the year 549 B.C. See The Ch’un Ts’ew with the Tso Chuen, trans. James Legge (Hong Kong: Hong Kong University Press, 1960), p. 498, l. 14. The first four characters occur independently in a poem by T’ao Ch’ien (365–427), Hsien-Ch’in Han Wei Chin Nan-pei ch’ao shih (Complete poetry of the Pre-Ch’in, Han, Wei, Chin, and Northern and Southern dynasties), comp. Lu Ch’in-li, 3 vols. (Peking: Chung-hua shu-chü, 1983), 2:969, l. 5; a poem by Wang Yang (cs 1124), Ch’üan Sung shih, 30:18941, l. 7; a poem by Hung Hao (1088–1155), ibid., 30:19167, l. 15; and Tung Chieh-yüan Hsi-hsiang chi, chüan 5, p. 105, l. 8. A variant of this line with the same meaning but an additional syllable occurs in Yüan-ch’ü hsüan wai-pien, 1:254, ll. 8–9; Ching-ch’ai chi, scene 29, p. 91, l. 10; Sha-kou chi, scene 30, p. 107, l. 4; Ming-hsin pao-chien, chüan 1, p. 2a, l. 8; Ch’ang-an ch’eng ssu-ma t’ou-T’ang, scene 4, p. 18a, l. 5; Shui-hu ch’üan-chuan, vol. 1, ch. 21, p. 319, ll. 10–11; T’ou-pi chi, chüan 2, scene 18, p. 2a, l. 3; and Ta-T’ang Ch’in-wang tz’u-hua, vol. 1, chüan 2, ch. 16, p. 73b, l. 10. It occurs in the same form as in the novel in Chin-yin chi, chüan 2, scene 16, p. 17b, ll. 9–10; Shuang-chung chi, chüan 1, scene 14, p. 29b, l. 10; and Pao-chien chi, scene 15, p. 31, l. 21.

  47. This entire couplet occurs verbatim in Yin-chih chi-shan, p. 119, l. 7.

  48. This four-character expression occurs in [Yüan-pen] Wang chuang-yüan Ching-ch’ai chi ([Original edition of] Top graduate Wang and the Thorn hairpin), in Ku-pen hsi-ch’ü ts’ung-k’an, ch’u-chi, item no. 13, chüan 2, scene 48, p. 51b, l. 7.

  49. On this allusion, see Roy, The Plum in the Golden Vase, vol. 2, chap. 38, n. 34. This four-character expression occurs in Huai-hsiang chi, scene 22, p. 69, l. 5; Nan Hsi-hsiang chi (Li Jih-hua), scene 17, p. 45, l. 12; an anonymous set of songs in Feng-yüeh chin-nang [chien-chiao], p. 92, l. 10; and Hai-ling i-shih, p. 69, l. 12.

  50. On this allusion, see Roy, The Plum in the Golden Vase, vol. 3, chap. 44, n. 25. This quatrain, with a significant variant in the third line, occurs in Yü-huan chi, scene 16, p. 62, ll. 8–9, which is probably its proximate source.

  Chapter 93

  1. This line has already occurred in the Chin P’ing Mei tz’u-hua, vol. 3, ch. 47, p. 10b, l. 6. See Roy, The Plum in the Golden Vase, vol. 3, chap. 47, p. 146, ll. 6–7, and n. 39.

  2. The proximate source of this line, as well as the second line above, is probably a poem in Shui-hu ch’üan-chuan, vol. 4, ch. 113, p. 1692, l. 4.

  3. A synonymous variant of this four-character expression occurs in the anonymous fifteenth-century ch’uan-ch’i drama Ts’ai-lou chi (The gaily colored tower), ed. Huang Shang (Shanghai: Shang-hai ku-tien wen-hsüeh ch’u-pan she, 1956), scene 10, p. 32, l. 11. It occurs in the same form as in the novel in Yüan-ch’ü hsüan, 1:213, l. 16; Chi Ya-fan chin-man ch’an-huo, p. 275, l. 14; and Shih-wu kuan hsi-yen ch’eng ch’iao-huo, p. 693, l. 15.

  4. This four-character expression occurs in Shui-hu ch’üan-chuan, vol. 2, ch. 29, p. 452, l. 12; and recurs in the Chin P’ing Mei tz’u-hua, vol. 5, ch. 96, p. 8b, l. 7.

  5. This four character expression occurs in Hsüeh Jen-kuei cheng-Liao shih-lüeh, p. 62, l. 12; San-kuo chih t’ung-su yen-i, vol. 1, chüan 6, p. 282, ll. 17–18; Ta-Sung chung-hsing yen-i, vol. 1, chüan 1, p. 42b, l. 7; Nan Sung chih-chuan, vol. 1, chüan 4, p. 4b, ll. 6–7; Pei Sung chih-chuan, vol. 2, chüan 5, p. 4a, ll. 4–5; and San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 1, ch. 39, p. 511, l. 12.

  6. This four-character expression occurs independently in I-hsia chi, scene 27, p. 72, l. 7.

  7. A nearly synonymous variant of this proverbial couplet occurs in Chang Hsieh chuang-yüan, scene 8, p. 45, l. 2. It occurs in the same form as in the novel in Ming-hsin pao-chien, chüan 2, p. 2b, l. 8; Sha-kou chi, scene 14, p. 54, l. 7; and Hsiang-nang chi, scene 14, p. 40, l. 5. On the second line, which frequently occurs independently, see Roy, The Plum in the Golden Vase, vol. 3, chap. 43, n. 10.

  8. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., Yüan-ch’ü hsüan, 3:914, l. 19; Yüan-ch’ü hsüan wai-pien, 1:18, l. 10; a lyric by Lin Hung (14th century), Ch’üan Ming tz’u, 1:189, upper register, l. 13; Nü ku-ku shuo-fa sheng-t’ang chi, hsieh-tzu (wedge), p. 1a, l. 11; P’o-yao chi, chüan 1, scene 5, p. 15b, l. 7; the collection of literary tales entitled Hua-ying chi (Flower shadows collection), by T’ao Fu (1441–c. 1523), author’s pref. dated 1523, in Ming-Ch’ing hsi-chien hsiao-shuo ts’ung-k’an (Collectanea of rare works of fiction from the Ming-Ch’ing period) (Chi-nan: Ch’i-Lu shu-she, 1996), p. 913, ll. 13–14; Yü-chüeh chi, scene 3, p. 5, l. 1; T’ou-pi chi, chüan 1, scene 4, p. 11b, l. 6; Mu-lien chiu-mu ch’üan-shan hsi-wen, chüan 2, p. 11b, l. 2; a set of songs by Hsüeh Lun-tao (c. 1531–c. 1600), Ch’üan Ming san-ch’ü, 3:2848, l. 4; and an abundance of other occurrences, too numerous to list.

  9. This four-character expression occurs in Shui-hu ch’üan-chuan, vol. 2, ch. 52, p. 866, l. 2.

  10
. Variants of this couplet occur in Yüan-ch’ü hsüan, 1:218, l. 19; and the Chin P’ing Mei tz’u-hua, vol. 5, ch. 93, p. 6a, l. 9.

  11. Variants of this four-character expression occur in Yüan-ch’ü hsüan, 2:548, l. 11; and 4:1627, l. 14; and Yüan-ch’ü hsüan wai-pien, 1:48, l. 13; and 3:813, l. 7.

  12. This four-character expression occurs in a lyric by Ma Yü (1123–83), Ch’üan Chin Yüan tz’u, 1:358, upper register, l. 12; Yüan-ch’ü hsüan, 4:1591, l. 5; Yüan-ch’ü hsüan wai-pien, 2:424, l. 19; Sha-kou chi, scene 13, p. 44, l. 6; and Hsi-yu chi, vol. 1, ch. 40, p.459, l. 14.

  13. This four-character expression occurs in [Chi-p’ing chiao-chu] Hsi-hsiang chi, play no. 3, scene 1, p. 102, l. 6; and San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 1, ch. 28, p. 364, l. 9.

  14. This four-character expression occurs in Pai-chia kung-an, chüan 2, ch. 8, p. 1a, l. 6.

  15. This four-character expression occurs in Wei-mo-chieh ching chiang-ching wen (Sutra lecture on the Vimalakīrti sutra), text no. 2, in Tun-huang pien-wen chi, 2:562, l. 13; two lyrics by Ma Yü (1123–83), Ch’üan Chin Yüan tz’u, 1:357, lower register, l. 13; and 1:395, lower register, l. 1; San-kuo chih t’ung-su yen-i, vol. 1, chüan 3, p. 100, l. 11; and P’u-ming ju-lai wu-wei liao-i pao-chüan, 4:507, l. 3.