The Sing-song Girls of Shanghai

by Bangqing Han

  Dean Jerry Campbell and East Asian Library director Kenneth Klein of the University of Southern California lent their generous support as Lillian Yang was preparing Chang’s manuscript. Ms. Jennifer Crewe, editorial director of Columbia University, played the key role in coordinating the editorial work. Her confidence in Chang’s work and her willingness to promote Chinese literature over the years are most commendable.

  In 1981, at the recommendation of C. T. Hsia, Eileen Chang expressed a strong interest in seeing Sing-song Girls published by Columbia University Press; she even welcomed Hsia’s proposal to write a preface to her translation.13 Chang changed her mind the following year, perhaps for financial or other reasons, and her manuscript fell out of sight. Now, twenty-five years later, thanks to the aforementioned efforts, Chang’s wish to introduce Sing-song Girls to the English-speaking world has finally been fulfilled, and by the publisher she first considered, Columbia University Press.

  Notes

  1. The literary supplement of Shenbao, Yinghuan suoji (Sketches of the world), first published in 1872, has been generally regarded as the first literary periodical in late imperial China; however, featuring a wide range of subjects, the supplement appears more like a publication of miscellaneous interests. Hang Bangqing’s Haishang qishu specialized in fiction and can be called the first literary magazine in a more professional sense. See Chen Bohai and Yuan Jin, Shanghai jindai wenxueshi (A history of literature from Shanghai in late imperial China) (Shanghai: Shanghai renmin chubanshe, 1993), p. 241.

  2. Chen and Yuan, Shanghai jindai wenxueshi, p. 241.

  3. See Yu Xingmin and Tang Jiwu’s informative account of the rise of Shanghai in Shanghai: Jindaihua de zaochaner (Shanghai: The premature baby of Chinese modernization) (Taipei: Jiuda wenhua chuban gongsi, 1992).

  4. Eileen Chang’s annotated translation of Haishanghua was published by Huangguan chubanshe (Taipei) in 1983.

  5. Eileen Chang, Zhangkan, (Taipei: Huangguan chubanshe, 1994), p. 177.

  6. Hu Shi, preface to Haishanghua liezhuan, in Hu Shi zuopin ji (Works by Hu Shi) (Taipei: Yuanliu, 1986), 13:8; Zhang Ailing (Eileen Chang), Hongloumeng yan (The nightmare of The Story of the Stone) (Taipei: Huangguan chubanshe, 1994), p. 9; and idem, afterword to the Mandarin version of Haishanghua, pp. 591–608.

  7. Lin Shu’s translation of the novel was not published till 1899.

  8. Han Bangqing, Haishanghua, Mandarin translation by Eileen Chang, p. 432.

  9. See Hu Shi’s introduction to Haishanghua, p. 135, and Eileen Chang’s afterword to the Mandarin version of Haishanghua, p. 599.

  10. Chang, afterword, p. 596.

  11. Leo Ou-fan Lee should be regarded as one of the most important promoters behind the reappraisal of the neoimpressionist school. See the introduction to his Xinganjue pai xiaoshuo xuan (A collection of neoimpressionist fiction) (Taipei: Yunchen wenhua, 1987), pp. 1–8. Also see Yan Jiayan, “Lun xinganjui pai” (On neoimpressionism), in idem, Shiji de zuyin (Footsteps of the century) (Hong Kong: Tiandi tushu gongsi, 1995), pp. 100–137; and Wu Fuhui, “Shiji zhibing” (The malaise of the century, in Wenxueshi [Studies in literary history) 1 (1993): 157–173.

  12. Eileen Chang, afterword to Haishanghua, pp. 596, 608.

  13. C. T. Hsia, “Zhang Ailing geiwo de xinjian” (Eileen Chang’s correspondence with me, 11), Lianhe wenxue (Unitas) 14, no. 11 (1998): 79–80.

  TRANSLATOR’S NOTE ::

  Eileen Chang

  Chapter 1 begins with a short foreword followed by a prologue. The foreword describes the novel as an exposé of the wiles of the prostitutes of the trading port Shanghai and stresses that it is in no way pornographic. In the prologue, the author, under his pen name Hua Yeh Lien Nung,1 or “Flowers Feel For Me Too,” dreams that he is walking on a sea completely covered with flowers, a simple conceit, as Shanghai means “On the Sea,” and a flower is a common euphemism for a prostitute. In his dream, he sees chrysanthemums, plum blossoms, lotus flowers, and orchids tossed by the waves and plagued by pests. These flowers, which weather autumn chill or winter snows, rise above mud or withstand loneliness in empty hills, fare worse than the less highly regarded varieties and soon sink and drown; which so distresses our author that he totters and falls into the sea himself—dropping from a great height onto the Lu Stone Bridge that separates the Chinese district and foreign settlements in Shanghai. He wakes up to find himself on the bridge, an indication that he is still dreaming—a dreamer living in dreamland—and bumps into a young man rushing up the bridge, the prologue thus merging into the story proper.

  The sentiment in the prologue shows where the author’s sympathies lie and is clearly at variance with the moralistic introduction, which is just the routine disclaimer of all traditional Chinese novels that touch on the subject of sex. Closely modeled on Dream of the Red Chamber’s preface-cum-prologue, but without its charm and originality, this section of the book, so uncharacteristic, would bore foreign readers and put them off before they had even begun and would only serve to mislead the student of Chinese literature looking for underlying myths and philosophies. Not a best-seller when first published in 1892, this little-known masterpiece went out of print a second time in the 1930s after its discovery by Hu Shih and others in the May Fourth Movement.2 Perhaps understandably concerned about its reception abroad, I finally took the liberty of cutting the opening pages.

  The epilogue is omitted for similar reasons. Weakest in scenic description, where he was generally formalistic and used conventional literary expressions, the author here pictures at great length the joys of mountain climbing without gaining the top and its panoramic view, thus explaining why most of his subplots are left dangling, but with deducible and inevitable endings.

  As Hu Shih pointed out, a poem and an erudite pornographic tale have been worked into the book just to show off the author’s prowess in other realms of belles-entendres such as “Blood flowed, floating pestles away,” a quotation from the classics about the amount of blood shed in a battle. Unfortunately, the other quotations with double meanings are not as translatable. Neither are the scholarly drinking games that often give quotations a clever twist. The poem would be unwieldy and labored in translation and would create an effect quite different from that intended. These are the only excisions I have made and patched over, I hope unnoticeably, to maintain continuity and pace.

  I had long been familiar with the book but, until I translated it, had never realized that on their first night together Green Phoenix came to Prosperity Lo from another man’s bed, which should be no surprise in a whorehouse but was still a shock because of the domestic atmosphere of these sing-song houses, and especially after all her posturings. In this and a few other instances of extreme subtlety, my footnotes are more like commentary, at the risk of being intrusive.

  Eileen Chang

  Notes

  1. [In pinyin romanization, Huayeliannong. E.H.]

  2. [In pinyin romanization, Hu Shi. E.H.]

  CAST OF MAJOR CHARACTERS ::

  Compiled by Eva Hung

  The Zhao Family

  Simplicity Zhao, a first-time visitor to Shanghai who falls for high-class courtesans and cheap prostitutes alike.

  Second Treasure, sister of Simplicity who comes to Shanghai in search of him and ends up as a courtesan.

  Madam Hong, mother of Simplicity and Second Treasure, sister of Benevolence Hong.

  Clever, originally a servant girl at the Wei house in Generosity Alley, she later joins the Zhaos’ establishment and strikes up a relationship with Simplicity.

  Flora Zhang, a friend of Second Treasure who accompanies her to Shanghai and, like her, becomes a courtesan.

  Nature Shi, the scion of a well-known family and Second Treasure’s regular client whom she hopes to marry.

  Hall of Beauties on West Chessboard Street

  Woodsy, a courtesan in this second-class house.

  Jewel, a virgin courtesan and sister of Woodsy.

  Mama Yeung, the maid of the house.
<
br />   Lichee Zhuang, owner of a lottery store and a regular client of Woodsy.

  Fortune Shi, a regular client of Jewel and Third Treasure of Tranquillity Alley. He entices Second Treasure and Flora Zhang into prostitution.

  Lai the Turtle, the son of a high-ranking government official, is an uncouth man disliked and feared by all the courtesans he visits.

  The Zhou House in Sunshine Alley

  Orchid Zhou, Twin Pearl’s real mother and head of this first-class establishment.

  Twin Pearl, leading courtesan of the house.

  Twin Jade, a new girl purchased by Orchid Zhou.

  Twin Jewel, a courtesan who feels displaced by Twin Jade.

  Mama Yang, a maid in the Zhou house.

  Golden, the maid with a reputation for being an unfaithful wife.

  Worth, Golden’s husband and a manservant of the house.

  Eldest, the son of Worth and Golden.

  Clever Baby, a servant girl of the house.

  Benevolence Hong, uncle of Simplicity Zhao and regular client of Twin Pearl. He owns a ginseng store in South End and often runs errands for Lotuson Wang.

  Modesty Zhu, younger brother of Amity Zhu and regular client of Twin Jade.

  The Huang House in Generosity Alley

  Second Sister Huang, owner of this first-class house and quite well known when she was young.

  Green Phoenix, leading courtesan of the house who purchases her own freedom.

  Gold Phoenix, a virgin courtesan of the house.

  Pearl Phoenix, a courtesan of the house considered lazy by everyone.

  Mama Zhao, the maid of the house.

  Little Treasure, a servant girl of the house.

  Prosperity Luo, a regular client of Lute Jiang and later of Green Phoenix. He is an official with the rank of alternate magistrate.

  Promotion, the steward of Prosperity Luo.

  Vigor Qian, the favorite client of Green Phoenix. He lives on Avenue Road.

  Mrs. Qian, wife of Vigor Qian, an easygoing woman.

  Gold Flower, a girl bought by Third Sister Chu and placed temporarily in the Huang house.

  The Lin House in Generosity Alley

  White Fragrance, leading courtesan of the house.

  Green Fragrance, a virgin courtesan and younger sister of White Fragrance.

  Amity Zhu, older brother of Modesty Zhu and a regular client of White Fragrance.

  Whistler Tang, Amity Zhu’s business partner and an occasional client of Green Fragrance.

  Devotion Yin, a young man of some literary fame and a regular client of Green Fragrance.

  The Wei House in Generosity Alley

  Sister Wei, owner of this top-class establishment.

  Sunset, a top-class courtesan.1

  Mallow Yao, a regular client of Sunset and a henpecked husband.

  Mrs. Yao, wife of Mallow Yao, a woman prone to jealousy.

  Dragon Ma, a regular client of Sunset and private secretary to the official Harmony Qi.

  The Li House in East Prosperity Alley

  Fair Sister Li, real mother of Water Blossom and owner of this first-class house.

  Water Blossom, leading courtesan of the house who wants to marry Jade Tao. The frustration of her wish leads to ill health and an early death.

  River Blossom, a childish virgin courtesan.

  Big Goldie, the maid of the house.

  Beckon, a servant girl in the house.

  Jade Tao, Water Blossom’s lover who wants to marry her. His family objects to his taking a prostitute as wife.

  Big Feet Yao’s House in East Co-prosperity Alley

  Snow Scent, a courtesan working for herself.

  Little Sister, Snow Scent’s maid and Clever’s aunt.

  Elan Ge, a Chinese banker and regular client of Snow Scent.

  Wenjun Yao, a tomboyish courtesan who finds favor with Second Bai Gao.

  Second Bai Gao, a young man of some literary fame who finds the normal run of courtesans unattractive.

  Generosity Alley

  Grace Yang, a courtesan suspected of involvement in a gambling scam.

  Thrive, Grace Yang’s maid.

  Crane Li, a regular client of Grace Yang and nephew of Pragmatic Li. He is a gambler who is cheated by everyone.

  Second Kuang, Crane Li’s steward and a client of the low-class prostitute Third Pan.

  Laurel Zhao, a courtesan in her midtwenties who is an opium addict. She rents rooms in the same house as Grace Yang.

  Belle Tan, a first-class courtesan.

  Cloud Tao, a regular client of Belle and elder brother of Jade Tao. He lives in the Old City.

  East Civic Peace Alley

  Lute Jiang, a first-class courtesan and Prosperity Luo’s regular girl until he took up with Green Phoenix.

  Tigress, a servant girl at Lute Jiang’s, probably so named because she was born in the year of the tiger.

  Script Li, a regular client of Lute Jiang and Bright Pearl of Tripod Alley. He is a high-ranking official and a man of great wealth.

  Co-security Alley

  Clever Gem, a first-class courtesan.

  Ocean, Clever Gem’s maid.

  Big Silver, Clever Gem’s servant girl.

  Cloudlet Chen, owner of a lottery shop and a regular client of Clever Gem.

  Constant Blessing, Cloudlet Chen’s steward and a client of the low-class prostitute Second Wang.

  Hall of Spring

  Love Gem, sister of Clever Gem and a courtesan in this second-class house.

  Great Prosperity Alley

  Third Sister Chu, mother of Perfection and formerly a well-known figure in the brothel world.

  Perfection Chu, a young married woman who has just become a streetwalker.

  Pragmatic Li, a regular client of Perfection and an old client of Bright Pearl. A miser, he prefers the cheaper girls.

  Nobility Alley

  White Orchid, a second-class courtesan.

  Sister Gold, White Orchid’s maid.

  Pine Wu, a regular client of White Orchid. He comes from the same hometown as Simplicity Zhao and works in a foreign firm.

  Clement Zhou, the owner of a gambling den who teams up with Pine Wu in a scam.

  Iron Hua, a regular client of White Orchid.

  Tripod Alley

  Bright Pearl, a wealthy semiretired courtesan who is getting on in years.

  Lucky Spring Alley

  Constance Zhang, Lotuson Wang’s new flame. He helps her set up her business.

  Lotuson Wang, a regular client of both Constance and Little Rouge of Floral Alley. He is an official who deals with affairs related to foreigners.

  Talisman, the steward of Lotuson Wang.

  Floral Alley

  Little Rouge, a first-class courtesan and Lotuson Wang’s regular girl until he met Constance.

  Pearlie, Little Rouge’s maid.

  Goldie, Little Rouge’s servant girl.

  Little Willow, an opera actor and Little Rouge’s lover.

  Thatch Fang, an older man with literary pretensions. He later marries Laurel Zhao.

  Jade Wenjun, a courtesan with literary pretensions.

  Tranquillity Alley

  Third Treasure, a virgin courtesan.

  Bamboo Hu, bookkeeper at Cloudlet Chen’s lottery shop and a regular client of Third Treasure.

  Auspicious Cloud Alley

  Cassia Ma, a second-class courtesan who wins Mrs. Yao’s trust.

  Security Alley

  Third Pan, a low-class prostitute.

  Verdure Xu, a regular client of Third Pan and a rather rough character.

  Longevity Zhang, the steward of Amity Zhu and a client of Third Pan. He is the lover of the maid Golden.

  Beaten Dog Bridge

  Second Wang, a low-class prostitute.

  Rustic Zhang, a regular client of Second Wang and cousin of Flora Zhang. He comes to Shanghai with Simplicity Zhao and manages to find a job.

  Rustic Retreat

  Harmony Qi, a wealthy elderly Chinese offic
ial who prides himself on being a champion of young lovers.

  Aroma Su, a courtesan who comes back into the business when she fails to get along with the wife of the man she married. Her sister, Essence, is one of Qi’s concubines.

  Pendant, a teenage member of Qi’s private theater troupe whose sexual favor he enjoys.

  Hairpin, a teenage member of Qi’s private theater troupe whose sexual favor he enjoys.

  Note

  1. [For an explanation of the distinction between top-class and first-class courtesans, see “The World of the Shanghai Courtesans.” E.H.]

  CHAPTER 1 :: Simplicity Zhao visits his uncle on Salt Melon Street, and Benevolence Hong makes a match at the Hall of Beauties

  A young man was seen rushing over Lu Stone Bridge, which linked Shanghai’s Chinese district to the foreign settlements. He was dressed in a golden brown box jacket of glossy Nanjing silk, under which was an off-white cotton archery gown.1 Surprised by the busy scene, he bumped into a ricksha and fell smack on the ground, splashing mud all over himself. Scrambling quickly to his feet, he seized the ricksha puller, shouting and cursing wildly at him, deaf to remonstrances. A Chinese policeman in a dark blue cotton uniform came over to question him. “My name is Simplicity Zhao, and I’m bound for Salt Melon Street,” said the young man. “But out of the blue came this blockhead who ran me over with a ricksha! Look at the mud on my jacket. He’ll have to pay for it.”

  “You could have been more careful yourself. I shouldn’t press the matter,” the policeman said.