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

by Roy, David Tod

6. Sentences similar to this one occur in San hsien-shen Pao Lung-t’u tuan-yüan, p. 172, ll. 6–7; and San Sui p’ing-yao chuan, chüan 4, ch. 16, p. 11a, l. 1. For English-language biographies of Li Ts’un-hsiao (d. 894) and P’eng Yüeh (d. 196 B.C.), both of whom were executed with extreme cruelty, see Richard L. Davis, trans., Historical Records of the Five Dynasties (New York: Columbia University Press, 2004), pp. 302–5; and Watson, Records of the Grand Historian of China, 1:191–95.

  7. Variants of this couplet occur in Yüan-ch’ü hsüan, 1:235, l. 10; Pai-yüeh t’ing chi, chüan 1, scene 24, p. 39b, l. 1; and Shui-hu ch’üan-chuan, vol. 1, ch. 9, p. 137, l. 4.

  8. This couplet has already occurred in the novel. See Roy, The Plum in the Golden Vase, vol. 3, chap. 55, p. 366, ll. 30–33, and n. 59.

  9. This four-character expression occurs in a poem attributed to the legendary Buddhist poet Han-shan (8th century), Ch’üan T’ang shih, vol. 12, chüan 806, p. 9078, l. 11; a quatrain attributed to the legendary Buddhist poet Shih-te (8th century), ibid., vol. 12, chüan 807, p. 9107, l. 12; a lyric by Wang T’ing-hsiang (1474–1544), Ch’üan Ming tz’u, 2:528, lower register, l. 15; and Han Hsiang-tzu chiu-tu Wen-kung sheng-hsien chi, chüan 2, scene 25, p. 18a, ll. 2–3.

  10. This four-character expression occurs in a set of songs by Hsia Yen (1482–1548), Ch’üan Ming san-ch’ü, 2:1300, l. 13.

  11. This formulaic four-character expression occurs ubiquitously in Chinese literature. See, e.g., a poem by Ch’ien Ch’i (cs 751), Ch’üan T’ang shih, vol. 4, chüan 239, p. 2670, l. 1; a poem by Po Chü-i (772–846), ibid., vol. 7, chüan 444, p. 4981, l. 4; a quatrain by Hu Tseng (9th century), ibid., vol. 10, chüan 647, p. 7429, l. 2; a lyric by Liu Yung (cs 1034), Ch’üan Sung tz’u, 1:18, lower register, l. 14; a lyric by Yen Shu (991–1055), ibid., 1:103, upper register, l. 11; a lyric by Ou-yang Hsiu (1007–72), ibid., 1:121, upper register, l. 16; a set of quatrains by Ssu-ma Kuang (1019–86), Ch’üan Sung shih, 9:6012, l. 6; a lyric by Chou Pang-yen (1056–1121), Ch’üan Sung tz’u, 2:602, upper register, l. 3; a song suite by Kuan Han-ch’ing (13th century), Ch’üan Yüan san-ch’ü, 1:181, l. 15; a song suite by Kuan Yün-shih (1286–1324), ibid., 1:378, l. 13; a set of songs by Chang K’o-chiu (1270–1348), ibid., 1:967, l. 12; Chin-yin chi, chüan 4, scene 35, p. 7a, l. 2; Yü-huan chi, scene 15, p. 55, ll. 1–2; a song suite by K’ang Hai (1475–1541), Ch’üan Ming san-ch’ü, 1:1192, l. 1; a song suite by Yang Shen (1488–1559), ibid., 2:1451, l. 5; Ssu-hsi chi, scene 31, p. 78, l. 1; and a host of other occurrences, too numerous to list.

  12. This couplet has already occurred in the novel. See Roy, The Plum in the Golden Vase, vol. 3, chap. 58, p. 432, ll. 30–33, and n. 24.

  13. This poem has already occurred in the novel as the opening poem of chapter 89.

  14. The rest of this chapter and the first few pages of chapter 99 are heavily indebted to the middle-period vernacular story Hsin-ch’iao shih Han Wu mai ch’un-ch’ing, p. 64, l. 1–p. 74, l. 7. There are many textual discrepancies, but the wording of the two texts is close enough to make it obvious that this story is the proximate source of this segment of the novel.

  15. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., [Chi-p’ing chiao-chu] Hsi-hsiang chi, play no. 5, scene 3, p. 190, l. 11; Yüan-ch’ü hsüan, 3:882, l. 16; Yüan-ch’ü hsüan wai-pien, 1:26, l. 10; Sha-kou chi, scene 18, p. 68, l. 5; Pai Niang-tzu yung-chen Lei-feng T’a, p. 438, l. 5; Fo-yin shih ssu t’iao Ch’in-niang, p. 234, l. 5; Huan-tai chi, chüan 1, scene 7, p. 19a, l. 1; Shuang-chu chi, scene 8, p. 22, l. 10; San-kuo chih t’ung-su yen-i, vol. 1, chüan 1, p. 30, l. 10; Shui-hu ch’üan-chuan, vol. 1, ch. 17, p. 249, l. 4; Hsiu-ju chi, scene 11, p. 31, ll. 5–6; Yü-huan chi, scene 19, p. 75, l. 2; Ts’o-jen shih, p. 226, l. 8; Yüeh-ming Ho-shang tu Liu Ts’ui, p. 434, l. 11; Hsi-yu chi, vol. 2, ch. 82, p. 936, l. 11; San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 1, ch. 14, p. 179, l. 1; and a host of other occurrences, too numerous to list.

  16. Ch’en Tung (1086–1127) is a historical figure. For his biography, see Sung shih (History of the Sung dynasty), comp. T’o-t’o (1313–55) et al., 40 vols. (Peking: Chung-hua shu-chü, 1977), vol. 38, chüan 455, pp. 13359–62; and Herbert Franke, ed., Sung Biographies, 4 vols. (Wiesbaden: Franz Steiner Verlag, 1976), 1:124–32. See also the sources cited in Roy, The Plum in the Golden Vase, vol. 1, p. 453, n. 53.

  17. The last nine characters of this sentence occur verbatim in Yüan-ch’ü hsüan, 4:1517, l. 13.

  18. This formulaic reduplicative expression occurs ubiquitously in Chinese literature. See, e.g., a lyric by Yen Shu (991–1055), Ch’üan Sung tz’u, 1:97, lower register, l. 10; a lyric by Yen Chi-tao (c. 1031–c. 1106), ibid., 1:254, upper register, l. 9; a lyric by Lü Sheng-chi (12th century), ibid., 3:1762, upper register, l. 16; a lyric by Shih Hsiao-yu (cs 1166), ibid., 3:2044, upper register, l. 1; a lyric by Ma Yü (1123–83), Ch’üan Chin Yüan tz’u, 1:319, lower register, l. 16; Chu-tzu yü-lei, vol. 1, chüan 11, p. 18a, l. 12; Yüan-ch’ü hsüan, 3:1255, l. 7; K’an p’i-hsüeh tan-cheng Erh-lang Shen, p. 246, l. 3; Yao-shih pen-yüan kung-te pao-chüan (Precious volume on the original vows and merit of the Healing Buddha), published in 1544, in Pao-chüan ch’u-chi, 14:319, l. 4; P’ei Hsiu-niang yeh-yu Hsi-hu chi, p. 346, l. 9; Huan-sha chi, scene 21, p. 72, l. 9; Hsi-yu chi, vol. 1, ch. 35, p. 401, l. 6; Shuang-lieh chi, scene 3, p. 7, l. 8; San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 2, ch. 66, p. 848, l. 15; and an abundance of other occurrences, too numerous to list.

  19. The proximate source of this quatrain, with some textual variation, is one that occurs in Shui-hu ch’üan-chuan, vol. 3, ch. 73, p. 1236, l. 7.

  20. This four-character expression occurs in Chi Ya-fan chin-man ch’an-huo, p. 285, l. 17.

  21. This formulaic four-character expression occurs ubiquitously in Chinese literature. See, e.g., Ch’ou-nü yüan-ch’i (The legend of the ugly woman), in Tun-huang pien-wen chi, 2:800, l. 5; Yüan-ch’ü hsüan, 1:179, l. 6; Yang Ssu-wen Yen-shan feng ku-jen, p. 379, l. 9; Pai Niang-tzu yung-chen Lei-feng T’a, p. 425, l. 2; Chiao-hsiao chi, chüan 1, scene 4, p. 5b, l. 2; Yü-huan chi, scene 34, p. 128, l. 8; Shui-hu ch’üan-chuan, vol. 4, ch. 98, p. 1539, l. 4; Huai-hsiang chi, scene 38, p. 127, l. 12; a set of songs by Chao Nan-hsing (1550–1627), Ch’üan Ming san-ch’ü, 3:3217, l. 10; and a host of other occurrences, too numerous to list. An orthographic variant of the same expression also occurs in Ta-T’ang San-tsang ch’ü-ching shih-hua, episode 10, p. 23, l. 2; Yüan-ch’ü hsüan, 4:1359, l. 19; Yüan-ch’ü hsüan wai-pien, 2:670, l. 19; Ching-ch’ai chi, scene 48, p. 142, l. 12; Yu-kuei chi, scene 40, p. 114, l. 5; Chiao Hung chuan, p. 310, l. 6; Chien-teng yü-hua, chüan 4, p. 256, l. 4; Hsiang-nang chi, scene 32, p. 96, ll. 2–3; a song suite by Wu Kuo-pao (cs 1550), Ch’üan Ming san-ch’ü, 2:2274, l. 9; Pai-chia kung-an, chüan 5, ch. 44, p. 2b, l. 8; San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 1, ch. 20, p. 258, l. 11; a set of songs by Hsüeh Lun-tao (c. 1531–c. 1600), Ch’üan Ming san-ch’ü, 3:2899, l. 5; and an abundance of other occurrences, too numerous to list.

  22. This formulaic four-character expression occurs ubiquitously in Chinese literature. See, e.g., Feng-yüeh Jui-hsien T’ing, p. 42, l. 2; Yü Chung-chü t’i-shih yü shang-huang, p. 65, l. 6; Lü Tung-pin hua-yüeh shen-hsien hui, scene 2, p. 5a, l. 13; Cho Wen-chün ssu-pen Hsiang-ju, scene 2, p. 123, l. 9; Ch’ien-t’ang meng, p. 4a, l. 10; Chung-ch’ing li-chi, chüan 7, p. 17b, l. 11; K’ung Shu-fang shuang-yü shan-chui chuan, p. 64, l. 10; Tu Li-niang mu-se huan-hun, p. 536, l. 7; San-pao t’ai-chien Hsi-yang chi t’ung-su yen-i, vol. 1, ch. 36, p. 471, ll. 4–5; and a host of other occurrences, too numerous to list.

  23. This four-character expression occurs in Pai Niang-tzu yung-chen Lei-feng T’a, p. 444, l. 16; K’an p’i-hsüeh tan-cheng Erh-lang Shen, p. 247, l. 5; Shui-hu ch’üan-chuan, vol. 1, ch. 3, p. 51, l. 6; and Jen hsiao-tzu lieh-hsing wei shen, p. 581, l. 9.

  24. This four-character expression occurs in Wang Wen-hsiu Wei-t’ang ch’i-y�
� chi, scene 3, p. 7b, l. 6; and Hsi-yu chi, vol. 2, ch. 53, p. 614, l. 8.

  25. This four-character expression occurs in Lo-yang san-kuai chi, p. 66, l. 10.

  26. This four-character expression occurs in Yang-chia fu shih-tai chung-yung yen-i chih-chuan, vol. 2, chüan 7, p. 27a, l. 5.

  27. This four-character expression occurs in the literary tale Liao-yang hai-shen chuan (The sea goddess of Liao-yang), by Ts’ai Yü (d. 1541), Ku-tai wen-yen tuan-p’ien hsiao-shuo hsüan-chu, erh-chi, p. 386, l. 2; and T’ien-yüan ch’i-yü, chüan 8, p. 27b, l. 2.

  28. This four-character expression occurs in Pai Niang-tzu yung-chen Lei-feng T’a, p. 440, l. 13; Hsi-yu chi, vol. 1, ch. 4, p. 41, l. 2; and Ts’an-T’ang Wu-tai shih yen-i chuan, ch. 4, p. 8, l. 21.

  29. This four-character expression occurs in Hai-ling i-shih, p. 60, l. 6.

  30. This formulaic four-character expression occurs ubiquitously in Chinese literature. See, e.g., a lyric by Huang T’ing-chien (1045–1105), Ch’üan Sung tz’u, 1:386, lower register, l. 2; a song by Wu Hung-tao (14th century), Ch’üan Yüan san-ch’ü, 1:731, l. 8; a song suite by Chu T’ing-yü (14th century), ibid., 2:1203, l. 5; a song suite by Liu T’ing-hsin (14th century), ibid., 2:1446, ll. 9–10; Yüan-ch’ü hsüan, 2:483, l. 3; Ching-ch’ai chi, scene 31, p. 96, l. 7; Chin-t’ung Yü-nü Chiao Hung chi, p. 40, l. 14; a song suite by Chu Yu-tun (1379–1439), Ch’üan Ming san-ch’ü, 1:354, l. 11; Shen-hsiang ch’üan-pien, chüan 640, p. 12b, ll. 7–8; Nan Hsi-hsiang chi (Li Jih-hua), scene 35, p. 99, l. 6; Chiang Shih yüeh-li chi, chüan 1, scene 2, p. 3a, l. 1; Yü-huan chi, scene 11, p. 38, l. 4; a song suite by Yang I-ch’ing (1454–1530), Ch’üan Ming san-ch’ü, 1:444, l. 7; Shui-hu ch’üan-chuan, vol. 3, ch. 71, p. 1208, l. 4; Wang Lan-ch’ing chen-lieh chuan, hsieh-tzu (wedge), p. 1a, l. 7; a song by Wang Chiu-ssu (1468–1551), Ch’üan Ming san-ch’ü, 1:914, l. 5; a set of songs by Hsüeh Lun-tao (c. 1531–c. 1600), ibid., 3:2884, l. 10; and an abundance of other occurrences, too numerous to list.

  31. This formulaic four-character expression occurs ubiquitously in Chinese vernacular literature. See, e.g., San-kuo chih p’ing-hua, p. 131, ll. 6–7; a song suite by Chu T’ing-yü (14th century), Ch’üan Yüan san-ch’ü, 2:1213, l. 10; Yüan-ch’ü hsüan, 2:529, l. 3; Hsiao fu-jen chin-ch’ien tseng nien-shao, p. 226, l. 17; Hua-teng chiao Lien-nü ch’eng-Fo chi, p. 204, l. 2; Pai Niang-tzu yung-chen Lei-feng T’a, p. 424, l. 8; the tsa-chü drama Kuan Yün-ch’ang i-yung tz’u-chin (Kuan Yün-ch’ang righteously and heroically refuses gold), by Chu Yu-tun (1379–1439), originally completed in 1416, in Ming-jen tsa-chü hsüan, scene 1, p. 145, l. 9; San-kuo chih t’ung-su yen-i, vol. 1, chüan 9, p. 408, l. 20; Shui-hu ch’üan-chuan, vol. 1, ch. 1, p. 8, l. 9; Yüeh-ming Ho-shang tu Liu Ts’ui, p. 431, l. 5; Mu-tan t’ing, scene 36, p. 187, l. 6; Hai-ling i-shih, p. 112, l. 3; Ta-T’ang Ch’in-wang tz’u-hua, vol. 2, chüan 5, ch. 37, p. 43b, l. 4; and a host of other occurrences, too numerous to list. It also recurs in the Chin P’ing Mei tz’u-hua, vol. 5, ch. 100, p. 2b, l. 7.

  32. This four-character expression occurs in a song by Hsüeh Lun-tao (c. 1531–c. 1600), Ch’üan Ming san-ch’ü, 3:2807, l. 5.

  33. For this example of wordplay, see above, chap. 83, n. 10.

  34. This four-character expression occurs in Hsüan-ho i-shih, p. 55, l. 2; and Shui-hu ch’üan-chuan, vol. 3, ch. 81, p. 1340, l. 14.

  35. This four-character expression occurs in Yü-ching t’ai, scene 37, p. 99, l. 12; and Chin-chien chi, scene 4, p. 9, l. 3.

  36. This four-character expression occurs in a literary tale by Li Ching-liang (fl. 8th–9th centuries), in T’ai-p’ing kuang-chi, vol. 7, chüan 340, p. 2699, l. 13; and I-chien chih, vol. 1, chia-chih (first collection), chüan 4, p. 29, l. 6.

  37. This four-character expression occurs in [Chi-p’ing chiao-chu] Hsi-hsiang chi, play no. 5, scene 2, p. 181, l. 10; Chung-ch’ing li-chi, chüan 6, p. 28a, l. 12; and Shui-hu ch’üan-chuan, vol. 4, ch. 88, p. 1446, l. 1.

  38. This four-character expression occurs in a poem by the Sung dynasty poet Wu Shan, Ch’üan Sung shih, 72:45492, l. 2; and Chin-tiao chi, chüan 4, scene 41, p. 21a, l. 5.

  39. This four-character expression occurs in Yüan-ch’ü hsüan, 4:1590, l. 8.

  40. This four-character expression occurs in San-yüan chi, scene 35, p. 93, l. 6.

  41. This four-character expression occurs in Shui-hu ch’üan-chuan, vol. 3, ch. 68, p. 1159, l. 8.

  42. This four-character expression occurs in the anonymous thirteenth-century prosimetric narrative Liu Chih-yüan chu-kung-tiao [chiao-chu] (Medley in various modes on Liu Chih-yüan [collated and annotated]), ed. Lan Li-ming (Ch’eng-tu: Pa-Shu shu-she, 1989), part 2, p. 67, l. 6; Chu-fa chi, chüan 2, scene 22, p. 15a, l. 2; and an anonymous song in Nan-kung tz’u-chi, vol. 2, chüan 6, p. 346, l. 3.

  43. This four-character expression occurs in Pai-chia kung-an, chüan 4, ch. 39, p. 16b, l. 12.

  44. This four-character expression occurs in a quatrain by Po Chü-i (772–846), Ch’üan T’ang shih, vol. 7, chüan 442, p. 4947, l. 7; a lyric by Su Shih (1037–1101), Ch’üan Sung tz’u, 1:298, upper register, l. 9; a lyric by Wang Yüan-liang (13th century), Ch’üan Sung tz’u pu-chi, p. 89, upper register, l. 7; a song by Lu Chih (cs 1268), Ch’üan Yüan san-ch’ü, 1:131, l. 4; [Chi-p’ing chiao-chu] Hsi-hsiang chi, play no. 2, scene 4, p. 79, l. 2; and an anonymous song suite in Yung-hsi yüeh-fu, ts’e 6, p. 70b, l. 7.

  45. The earliest known version of this quatrain, with considerable textual variation, is quoted in a work by Yeh Meng-te (1077–1148), where it is said to have been composed by a woman whose husband had sent her a letter containing a blank sheet of paper by mistake. See Ch’üan Sung shih, 71:45056, l. 3. Later versions occur in Yüan shih chi-shih (Recorded occasions in Yüan poetry), comp. Ch’en Yen (1856–1938) (Shanghai: Shang-hai ku-chi ch’u-pan she, 1987), chüan 36, p. 826, l. 8; Tsui-weng t’an-lu (The old drunkard’s selection of tales), comp. Lo Yeh (13th century) (Taipei: Shih-chieh shu-chü, 1972), i-chi (2nd collection), p. 23, ll. 5–6; and Chien-t’ieh ho-shang, p. 8, ll. 7–8; which is probably the proximate source.

  Chapter 99

  1. A version of this passage, with some textual variation, occurs without attribution in Ming-hsin pao-chien, chüan 1, p. 12b, ll. 3–5. The proximate source, however, is Shui-hu ch’üan-chuan, vol. 2, ch. 30, p. 458, ll. 3–4.

  2. This four-character expression occurs in Ming-feng chi, scene 8, p. 31, l. 5; and I-hsia chi, scene 15, p. 38, ll. 4–5.

  3. This proverbial saying occurs in the author’s commentary to a quatrain by the Buddhist monk I-ch’ing (1032–83), Ch’üan Sung shih, 12:8197, l. 13.

  4. This four-character expression occurs ubiquitously in Chinese literature. See, e.g., the encomium attached to a biography by Wang Yü-ch’eng (954–1001), Ch’üan Sung wen (Complete prose of the Sung), comp. Tseng Tsao-chuang, Liu Lin et al., 50 vols. (Ch’eng-tu: Pa-Shu shu-she, 1988–94), vol. 4, chüan 154, p. 501, l. 6; Tsui-weng t’an-lu, jen-chi (9th collection), chüan 1, p. 98, l. 9; San-kuo chih p’ing-hua, p. 69, l. 1; a ballad by Kao Ch’i (1336–74), in Kao Ch’ing-ch’iu chi (The collected works of Kao Ch’i), ed. Hsü Ch’eng-yü and Shen Pei-tsung, 2 vols. (Shanghai: Shang-hai ku-chi ch’u-pan she, 1985), vol. 1, chüan 1, p. 20, l. 2; San-yüan chi, scene 18, p. 51, l. 10; San-kuo chih t’ung-su yen-i, vol. 1, chüan 9, p. 421, l. 23; a song suite by Wu Kuo-pao (cs 1550), Ch’üan Ming san-ch’ü, 2:2273, l. 7; Hung-fu chi, scene 11, p. 20, l. 1; Hai-fu shan-t’ang tz’u-kao, chüan 3, p. 165, l. 3; Ssu-hsi chi, scene 5, p. 14, l. 8; Hua-shen san-miao chuan, p. 11a, l. 9; Liu sheng mi Lien chi, chüan 3, p. 11a, l. 1; Pai-chia kung-an, chüan 2, ch. 10, p. 7a, l. 6; and an abundance of other occurrences, too numerous to list.

  5. This four-character expression occurs in conjunction with the preceding line in a song suite by Wu Kuo-pao (cs 1550), Ch’üan Ming san-ch’ü, 2:2273, l. 7; and in Hai-fu shan-t’ang tz’u-kao, chüan 3, p. 165, l. 3. It occurs independently in a song suite by Chu T’ing-yü (14th century), Ch’üan Yüan san-ch’ü, 2:1221, l. 3; Wen-ch
ing yüan-yang hui, p. 160, l. 6; a song suite by Yin Shih-tan (1522–82), Ch’üan Ming san-ch’ü, 2:2330, l. 14; and a song suite by Tsung Ch’en (1525–60), ibid., 2:2391, l. 9.

  6. This four-character expression occurs in a lyric by Liu Yung (cs 1034), Ch’üan Sung tz’u, 1:50, lower register, l. 10; a lyric by Fang Ch’ien-li (13th century), ibid., 4:2496, lower register, l. 14; and Chang Yü-hu su nü-chen kuan chi, p. 11a, ll. 8–9.

  7. This four-character expression occurs in Hsiang-nang chi, scene 34, p. 102, l. 11; and Ssu-hsi chi, scene 28, p. 69, l. 5.

  8. This line, with only one textual variant, has already occurred in the novel. See Roy, The Plum in the Golden Vase, vol. 2, chap. 38, p. 397, ll. 27–28.

  9. The proximate source of this quatrain, with insignificant textual variation, is Hsiu-ju chi, scene 31, p. 83, ll. 7–8. The last line also occurs independently in a lyric by Hsiang Hao (12th century), Ch’üan Sung tz’u, 3:1522, upper register, l. 10; Yü-huan chi, scene 17, p. 70, ll. 11–12; and Hai-fu shan-t’ang tz’u-kao, chüan 2b, p. 136, l. 4.

  10. This line, with one synonymous variant, occurs in a lyric by Chu Shu-chen (fl. 1078–1138), Ch’üan Sung tz’u, 2:1405, upper register, l. 13. It also occurs, with two interpolated characters, in P’i-p’a chi, scene 21, p. 123, l. 3.

  11. The proximate source of this quatrain is Hsiu-ju chi, scene 27, p. 75, ll. 5–6. The final couplet is very close to one attributed to a T’ang dynasty courtesan named Hsü Yüeh-ying, Ch’üan T’ang shih, vol. 11, chüan 802, p. 9034, l. 1. Versions of this couplet also occur in a lyric attributed to a Sung dynasty courtesan named Nieh Sheng-ch’iung (12th century), Ch’üan Sung tz’u, 2:1046, upper register, l. 9; and Mu-lien chiu-mu ch’üan-shan hsi-wen, chüan 3, p. 68a, l. 4.

  12. A version of this quatrain, with some textual variation, has already occurred in the novel. See Roy, The Plum in the Golden Vase, vol. 2, chap. 38, p. 401, ll. 27–34, and n. 41.

  13. This four-character expression occurs in Ssu-hsi chi, scene 3, p. 6, l. 1.