The Plum in the Golden Vase or, Chin P'ing Mei, Volume Three: The Aphrodisiac (P
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The Plum in the Golden Vase or, Chin P'ing Mei, Volume Three: The Aphrodisiac (P
US $44.00
ApproximatelyC $60.24
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“Volume 3. Hardcover with very good dust-jacket. Clean and solid. Ships from a smoke-free home.”
Very Good
A book that does not look new and has been read but is in excellent condition. No obvious damage to the cover, with the dust jacket (if applicable) included for hard covers. No missing or damaged pages, no creases or tears, and no underlining/highlighting of text or writing in the margins. May be very minimal identifying marks on the inside cover. Very minimal wear and tear. See the seller’s listing for full details and description of any imperfections.
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Located in: Forest Grove, Oregon, United States
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eBay item number:236113463803
Item specifics
- Condition
- Very Good
- Seller Notes
- “Volume 3. Hardcover with very good dust-jacket. Clean and solid. Ships from a smoke-free home.”
- ISBN
- 9780691125343
About this product
Product Identifiers
Publisher
Princeton University Press
ISBN-10
0691125341
ISBN-13
9780691125343
eBay Product ID (ePID)
50802589
Product Key Features
Book Title
Plum in the Golden Vase Or, Chin P'ing Mei, Volume Three Vol. 3 : the Aphrodisiac
Number of Pages
800 Pages
Language
English
Topic
Classics, Literary, Historical
Publication Year
2006
Illustrator
Yes
Genre
Fiction
Book Series
Princeton Library of Asian Translations Ser.
Format
Hardcover
Dimensions
Item Height
2.1 in
Item Weight
46 Oz
Item Length
9.5 in
Item Width
7.4 in
Additional Product Features
Intended Audience
College Audience
LCCN
92-045054
Reviews
Racy, colloquial, and robustly scatalogical, Ýthis translation¨ could only have been done now, when our literary language has finally shed its Victorian values. David Tod Roy enters with zest into the spirit and the letter of the original, quite surpassing . . . earlier versions. -- Paul St. John Mackintosh "Literary Review", [B]y virtue of both Roy's decision to translate the cihua version of the novel, and his manner of doing so, we have here an invaluable insight into the material and popular literary world of the late-Ming that will serve as a wonderful resource for students of the various aspects of this fascinating and rapidly changing period of late imperial Chinese history for many years to come., "[I]t is time to remind ourselves that The Plum in the Golden Vase is not just about sex, whether the numerous descriptions of sexual acts throughout the novel be viewed as titillating, harshly realistic, or, in Mr. Roy's words, intended 'to express in the most powerful metaphor available to him the author's contempt for the sort of persons who indulge in them.' The novel is a sprawling panorama of life and times in urban China, allegedly set safely in the Sung dynasty, but transparently contemporary to the author's late sixteenth-century world, as scores of internal references demonstrate. The eight hundred or so men, women, and children who appear in the book cover a breath-taking variety of human types, and encompass pretty much every imaginable mood and genre--from sadism to tenderness, from light humor to philosophical musings, from acute social commentary to outrageous satire." ---Jonathan Spence, New York Review of Books, "[B]y virtue of both Roy's decision to translate the cihua version of the novel, and his manner of doing so, we have here an invaluable insight into the material and popular literary world of the late-Ming that will serve as a wonderful resource for students of the various aspects of this fascinating and rapidly changing period of late imperial Chinese history for many years to come."-- Duncan Campbell, New Zealand Journal of Asian Studies, "Racy, colloquial, and robustly scatalogical, [this translation] could only have been done now, when our literary language has finally shed its Victorian values. David Tod Roy enters with zest into the spirit and the letter of the original, quite surpassing . . . earlier versions."-- Paul St. John Mackintosh, Literary Review, "Reading Roy's translation is a remarkable experience." --Robert Chatain, Chicago Tribune Review of Books, [B]y virtue of both Roy's decision to translate the cihua version of the novel, and his manner of doing so, we have here an invaluable insight into the material and popular literary world of the late-Ming that will serve as a wonderful resource for students of the various aspects of this fascinating and rapidly changing period of late imperial Chinese history for many years to come. -- Duncan Campbell, New Zealand Journal of Asian Studies, "Roy has made a major contribution to our overall understanding of the novel by so structuring every page of his translation that the numerous levles of narration are clearly differentiated. . . . In addition, [he] has annotated the text with a precision, thoroughness, and passion for detail that makes even a veteran reader of monographs smile with a kind of quiet disbelief."-- Jonathan Spence, New York Review of Books, Racy, colloquial, and robustly scatalogical, [this translation] could only have been done now, when our literary language has finally shed its Victorian values. David Tod Roy enters with zest into the spirit and the letter of the original, quite surpassing . . . earlier versions., Praise for the previous volumes: "[I]t is time to remind ourselves that The Plum in the Golden Vase is not just about sex, whether the numerous descriptions of sexual acts throughout the novel be viewed as titillating, harshly realistic, or, in Mr. Roy's words, intended 'to express in the most powerful metaphor available to him the author's contempt for the sort of persons who indulge in them.' The novel is a sprawling panorama of life and times in urban China, allegedly set safely in the Sung dynasty, but transparently contemporary to the author's late sixteenth-century world, as scores of internal references demonstrate. The eight hundred or so men, women, and children who appear in the book cover a breath-taking variety of human types, and encompass pretty much every imaginable mood and genre--from sadism to tenderness, from light humor to philosophical musings, from acute social commentary to outrageous satire." --Jonathan Spence, New York Review of Books, "Clearly David Roy is the greatest scholar-translator in the field of premodern vernacular Chinese fiction. . . . The puns and various other kinds of word plays that abound in the Chin P'ing Mei are so difficult to translate that I can't help 'slapping the table in amazement' each time I see evidence of Roy's masterful rendition of them. . . . I recommend this book, in the strongest possible terms, to anyone interested in the novel form in general, in Chinese literature in particular, or in the translation of Chinese literature." --Shuhui Yang, Chinese Literature: Essays, Articles, and Reviews, "Clearly David Roy is the greatest scholar-translator in the field of premodern vernacular Chinese fiction. . . . The puns and various other kinds of word plays that abound in the Chin Ping Mei are so difficult to translate that I cant help 'slapping the table in amazement' each time I see evidence of Roys masterful rendition of them. . . . I recommend this book, in the strongest possible terms, to anyone interested in the novel form in general, in Chinese literature in particular, or in the translation of Chinese literature."-- Shuhui Yang, Chinese Literature: Essays, Articles, and Reviews, Racy, colloquial, and robustly scatalogical, [this translation] could only have been done now, when our literary language has finally shed its Victorian values. David Tod Roy enters with zest into the spirit and the letter of the original, quite surpassing . . . earlier versions. -- Paul St. John Mackintosh, Literary Review, "[B]y virtue of both Roy's decision to translate the cihua version of the novel, and his manner of doing so, we have here an invaluable insight into the material and popular literary world of the late-Ming that will serve as a wonderful resource for students of the various aspects of this fascinating and rapidly changing period of late imperial Chinese history for many years to come." ---Duncan Campbell, New Zealand Journal of Asian Studies, Clearly David Roy is the greatest scholar-translator in the field of premodern vernacular Chinese fiction. . . . The puns and various other kinds of word plays that abound in the Chin P'ing Mei are so difficult to translate that I can't help 'slapping the table in amazement' each time I see evidence of Roy's masterful rendition of them. . . . I recommend this book, in the strongest possible terms, to anyone interested in the novel form in general, in Chinese literature in particular, or in the translation of Chinese literature. -- Shuhui Yang, Chinese Literature: Essays, Articles, and Reviews, Clearly David Roy is the greatest scholar-translator in the field of premodern vernacular Chinese fiction. . . . The puns and various other kinds of word plays that abound in the Chin P'ing Mei are so difficult to translate that I can't help 'slapping the table in amazement' each time I see evidence of Roy's masterful rendition of them. . . . I recommend this book, in the strongest possible terms, to anyone interested in the novel form in general, in Chinese literature in particular, or in the translation of Chinese literature., "Clearly David Roy is the greatest scholar-translator in the field of premodern vernacular Chinese fiction. . . . The puns and various other kinds of word plays that abound in the Chin P'ing Mei are so difficult to translate that I can't help 'slapping the table in amazement' each time I see evidence of Roy's masterful rendition of them. . . . I recommend this book, in the strongest possible terms, to anyone interested in the novel form in general, in Chinese literature in particular, or in the translation of Chinese literature."-- Shuhui Yang, Chinese Literature: Essays, Articles, and Reviews, "[A] book of manners for the debauched. Its readers in the late Ming period likely hid it under their bedcovers." ---Amy Tan, New York Times Book Review, "Racy, colloquial, and robustly scatalogical, [this translation] could only have been done now, when our literary language has finally shed its Victorian values. David Tod Roy enters with zest into the spirit and the letter of the original, quite surpassing . . . earlier versions." ---Paul St. John Mackintosh, Literary Review, Roy has made a major contribution to our overall understanding of the novel by so structuring every page of his translation that the numerous levles of narration are clearly differentiated. . . . In addition, [he] has annotated the text with a precision, thoroughness, and passion for detail that makes even a veteran reader of monographs smile with a kind of quiet disbelief., "[B]y virtue of both Roy's decision to translate the cihua version of the novel, and his manner of doing so, we have here an invaluable insight into the material and popular literary world of the late-Ming that will serve as a wonderful resource for students of the various aspects of this fascinating and rapidly changing period of late imperial Chinese history for many years to come." --Duncan Campbell, New Zealand Journal of Asian Studies, "Racy, colloquial, and robustly scatalogical, [this translation] could only have been done now, when our literary language has finally shed its Victorian values. David Tod Roy enters with zest into the spirit and the letter of the original, quite surpassing . . . earlier versions." --Paul St. John Mackintosh, Literary Review, Clearly David Roy is the greatest scholar-translator in the field of premodern vernacular Chinese fiction. . . . The puns and various other kinds of word plays that abound in theChin P'ing Meiare so difficult to translate that I can't help 'slapping the table in amazement' each time I see evidence of Roy's masterful rendition of them. . . . I recommend this book, in the strongest possible terms, to anyone interested in the novel form in general, in Chinese literature in particular, or in the translation of Chinese literature. -- Shuhui Yang, Chinese Literature: Essays, Articles, and Reviews, Praise for the previous volumes: "[I]t is time to remind ourselves that The Plum in the Golden Vase is not just about sex, whether the numerous descriptions of sexual acts throughout the novel be viewed as titillating, harshly realistic, or, in Mr. Roy's words, intended 'to express in the most powerful metaphor available to him the author's contempt for the sort of persons who indulge in them.' The novel is a sprawling panorama of life and times in urban China, allegedly set safely in the Sung dynasty, but transparently contemporary to the author's late sixteenth-century world, as scores of internal references demonstrate. The eight hundred or so men, women, and children who appear in the book cover a breath-taking variety of human types, and encompass pretty much every imaginable mood and genre--from sadism to tenderness, from light humor to philosophical musings, from acute social commentary to outrageous satire."-- Jonathan Spence, New York Review of Books, Roy has made a major contribution to our overall understanding of the novel by so structuring every page of his translation that the numerous levles of narration are clearly differentiated. In addition, [he] has annotated the text with a precision, thoroughness, and passion for detail that makes even a veteran reader of monographs smile with a kind of quiet disbelief., [B]y virtue of both Roy's decision to translate the cihua version of the novel, and his manner of doing so, we have here an invaluable insight into the material and popular literary world of the late-Ming that will serve as a wonderful resource for students of the various aspects of this fascinating and rapidly changing period of late imperial Chinese history for many years to come; sadly, however, we do not yet have a version of the novel that will take its rightful place, along with the Hawkes/Minford translation, within that small pantheon of Chinese literature in English translation., Reading Roy's translation is a remarkable experience. -- Robert Chatain, Chicago Tribune Review of Books, "Clearly David Roy is the greatest scholar-translator in the field of premodern vernacular Chinese fiction. . . . The puns and various other kinds of word plays that abound in the Chin P'ing Mei are so difficult to translate that I can't help 'slapping the table in amazement' each time I see evidence of Roy's masterful rendition of them. . . . I recommend this book, in the strongest possible terms, to anyone interested in the novel form in general, in Chinese literature in particular, or in the translation of Chinese literature." ---Shuhui Yang, Chinese Literature: Essays, Articles, and Reviews, Roy has made a major contribution to our overall understanding of the novel by so structuring every page of his translation that the numerous levles of narration are clearly differentiated. . . . In addition, [he] has annotated the text with a precision, thoroughness, and passion for detail that makes even a veteran reader of monographs smile with a kind of quiet disbelief. -- Jonathan Spence, New York Review of Books, "[A] book of manners for the debauched. Its readers in the late Ming period likely hid it under their bedcovers." --Amy Tan, New York Times Book Review, "Praise for the previous volumes: "[I]t is time to remind ourselves that The Plum in the Golden Vase is not just about sex, whether the numerous descriptions of sexual acts throughout the novel be viewed as titillating, harshly realistic, or, in Mr. Roy's words, intended 'to express in the most powerful metaphor available to him the author's contempt for the sort of persons who indulge in them.' The novel is a sprawling panorama of life and times in urban China, allegedly set safely in the Sung dynasty, but transparently contemporary to the author's late sixteenth-century world, as scores of internal references demonstrate. The eight hundred or so men, women, and children who appear in the book cover a breath-taking variety of human types, and encompass pretty much every imaginable mood and genre--from sadism to tenderness, from light humor to philosophical musings, from acute social commentary to outrageous satire."" ---Jonathan Spence, New York Review of Books, "Reading Roy's translation is a remarkable experience." ---Robert Chatain, Chicago Tribune Review of Books, [B]y virtue of both Roy's decision to translate the cihua version of the novel, and his manner of doing so, we have here an invaluable insight into the material and popular literary world of the late-Ming that will serve as a wonderful resource for students of the various aspects of this fascinating and rapidly changing period of late imperial Chinese history for many years to come; sadly, however, we do not yet have a version of the novel that will take its rightful place, along with the Hawkes/Minford translation, within that small pantheon of Chinese literature in English translation. -- Duncan Campbell, New Zealand Journal of Asian Studies, "Reading Roy's translation is a remarkable experience."-- Robert Chatain, Chicago Tribune Review of Books, "[A] book of manners for the debauched. Its readers in the late Ming period likely hid it under their bedcovers."-- Amy Tan, New York Times Book Review
Dewey Edition
20
TitleLeading
The
Series Volume Number
163
Dewey Decimal
895.1/346
Table Of Content
LIST OF I LLUSTRATIONS ix ACKNOWLEDGMENTS xi CAST OF CHARACTERS xiii CHAPTER 41: Hsi-men Ch'ing Forms a Marriage Alliance with Ch'iao Hung; P'an Chin-lien Engages in a Quarrel with Li P'ing-erh 1 CHAPTER 42: APowerful Family Blocks Its Gate in Order to Enjoy Fireworks; Distinguished Guests in a High Chamber Appreciate the Lanterns 19 CHAPTER 43: Because of the Missing Gold Hsi-men Ch'ing Curses Chin-lien; As a Result of the Betrothal YÜeh-niang Meets Madame Ch'iao 40 CHAPTER 44: Wu YÜeh-niang Detains Li Kuei-chieh Overnight; Hsi-men Ch'ing Drunkenly Interrogates Hsia-hua 65 CHAPTER 45: Li Kuei-chieh Requests the Retention of Hsia-hua; Wu YÜeh-niang in a Fit of Anger Curses at Tai-an 81 CHAPTER 46: Rain and Snow Interrupt a Walk during the Lantern Festival; Wife and Concubines Laughingly Consult the Tortoise Oracle 97 CHAPTER 47: Wang Liu-erh Peddles Influence in Pursuit of Profit; Hsi-men Ch'ing Accepts a Bribe and Subverts the Law 129 CHAPTER 48: Investigating Censor Tseng Impeaches the Judicial Commissioners; Grand Preceptor Ts'ai Submits a Memorial Regarding Seven Matters 147 CHAPTER 49: Hsi-men Ch'ing Welcomes Investigating Censor Sung Ch'iao-nien; In the Temple of Eternal Felicity He Encounters an Indian Monk 171 CHAPTER 50: Ch'in-t'ung Eavesdrops on the Joys of Lovemaking; Tai-an Enjoys a Pleasing Ramble in Butterfly Lane 203 CHAPTER 51: YÜeh-niang Listens to the Exposition Of The Diamond Sutra ; Li Kuei-chieh Seeks Refuge in the Hsi-men Ch'ing Household 221 CHAPTER 52: Ying Po-chÜeh Intrudes on a Spring Beauty in the Grotto; P'an Chin-lien Inspects a Mushroom in the Flower Garden 255 CHAPTER 53: Wu YÜeh-niang Engages in Coition in Quest of Male Progeny; Li P'ing-erh Fulfills a Vow in Order to Safeguard Her Son 289 CHAPTER 54: Ying Po-chu A'eh Convenes His Friends in a Suburban Garden; Jen Hou-ch'i Diagnoses an Illness for a Powerful Family 320 CHAPTER 55: Hsi-men Ch'ing Observes a Birthday in the Eastern Capital; Squire Miao from Yang-chou Sends a Present of Singing Boys 346 CHAPTER 56: Hsi-men Ch'ing Assists Ch'ang Shih-chieh; Ying Po-chÜeh Recommends Licentiate Shui 374 CHAPTER 57: Abbot Tao Solicits Funds to Repair the Temple of Eternal Felicity; Nun HsÜeh Enjoins Paying for the Distribution of the Dharan Sutra 394 CHAPTER 58: Inspired by a Fit of Jealousy Chin-lien Beats Ch'iu-chÜ; Begging Cured Pork the Mirror Polisher Tells a Sob Story 420 CHAPTER 59: Hsi-men Ch'ing Dashes "Snow Lion" to Death; Li P'ing-erh Cries Out in Pain for Kuan-ko 453 CHAPTER 60: Li P'ing-erh Becomes Ill Because of Suppressed Anger; Hsi-men Ch'ing's Silk Goods Store Opens for Business 489 NOTES 507 BIBLIOGRAPHY 639 INDEX 673
Synopsis
The third volume of a celebrated translation of the classic Chinese novel This is the third volume in David Roy's celebrated translation of one of the most famous and important novels in Chinese literature. The Plum in the Golden Vase or, Chin P'ing Mei is an anonymous sixteenth-century work that focuses on the domestic life of Hsi-men Ch'ing, a corrupt, upwardly mobile merchant in a provincial town, who maintains a harem of six wives and concubines. The novel, known primarily for its erotic realism, is also a landmark in the development of the narrative art form--not only from a specifically Chinese perspective but in a world-historical context. Written during the second half of the sixteenth century and first published in 1618, The Plum in the Golden Vase is noted for its surprisingly modern technique. With the possible exception of The Tale of Genji (ca. 1010) and Don Quixote (1605, 1615), there is no earlier work of prose fiction of equal sophistication in world literature. Although its importance in the history of Chinese narrative has long been recognized, the technical virtuosity of the author, which is more reminiscent of the Dickens of Bleak House , the Joyce of Ulysses , or the Nabokov of Lolita than anything in earlier Chinese fiction, has not yet received adequate recognition. This is partly because all of the existing European translations are either abridged or based on an inferior recension of the text. This translation and its annotation aim to faithfully represent and elucidate all the rhetorical features of the original in its most authentic form and thereby enable the Western reader to appreciate this Chinese masterpiece at its true worth. Replete with convincing portrayals of the darker side of human nature, it should appeal to anyone interested in a compelling story, compellingly told., In this third volume of a planned five-volume series, David Roy provides a complete and annotated translation of the famous Chin P'ing Mei, an anonymous sixteenth-century Chinese novel that focuses on the domestic life of His-men Ch'ing, a corrupt, upwardly mobile merchant who maintains a harem of six wives and concubines. This work, known primarily for its erotic realism, is also a landmark in the development of narrative art--not only from a specifically Chinese perspective but also in a world-historical context. Written during the second half of the sixteenth century and first published in 1618, The Plum in the Golden Vase is noted for its surprisingly modern technique. With the possible exception of The Tale of Genji (ca. 1010) and Don Quixote (1605, 1615), there is no earlier work of prose fiction of equal sophistication in world literature. Although its importance in the history of Chinese narrative has long been recognized, the technical virtuosity of the author, which is more reminiscent of the Dickens of Bleak House, the Joyce of Ulysses, or the Nabokov of Lolita than anything in earlier Chinese fiction, has not yet received adequate recognition.This is partly because all of the existing European translations are either abridged or based on an inferior recension of the text. This translation and its annotation aim to faithfully represent and elucidate all the rhetorical features of the original in its most authentic form and thereby enable the Western reader to appreciate this Chinese masterpiece at its true worth. Replete with convincing portrayals of the darker side of human nature, it should appeal to anyone interested in a compelling story, compellingly told., The third volume of a celebrated translation of the classic Chinese novel This is the third volume in David Roy's celebrated translation of one of the most famous and important novels in Chinese literature. The Plum in the Golden Vase or, Chin P'ing Mei is an anonymous sixteenth-century work that focuses on the domestic life of Hsi-men Ch'ing, a corrupt, upwardly mobile merchant in a provincial town, who maintains a harem of six wives and concubines. The novel, known primarily for its erotic realism, is also a landmark in the development of the narrative art form-not only from a specifically Chinese perspective but in a world-historical context. Written during the second half of the sixteenth century and first published in 1618, The Plum in the Golden Vase is noted for its surprisingly modern technique. With the possible exception of The Tale of Genji (ca. 1010) and Don Quixote (1605, 1615), there is no earlier work of prose fiction of equal sophistication in world literature. Although its importance in the history of Chinese narrative has long been recognized, the technical virtuosity of the author, which is more reminiscent of the Dickens of Bleak House , the Joyce of Ulysses , or the Nabokov of Lolita than anything in earlier Chinese fiction, has not yet received adequate recognition. This is partly because all of the existing European translations are either abridged or based on an inferior recension of the text. This translation and its annotation aim to faithfully represent and elucidate all the rhetorical features of the original in its most authentic form and thereby enable the Western reader to appreciate this Chinese masterpiece at its true worth. Replete with convincing portrayals of the darker side of human nature, it should appeal to anyone interested in a compelling story, compellingly told., Presents an annotated translation of the famous "Chin P'ing Mei", an anonymous sixteenth-century Chinese novel that focuses on the domestic life of His-men Ch'ing, a corrupt, upwardly mobile merchant who maintains a harem of six wives and concubines. This work, known for its erotic realism, is also a landmark in the development of narrative art.
LC Classification Number
PL2698
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