By David Tod Roy
In this primary of a deliberate five-volume set, David Roy offers an entire and annotated translation of the well-known Chin P'ing Mei, an nameless sixteenth-century chinese language novel that specializes in the family lifetime of Hsi-men Ch'ing, a corrupt, upwardly cellular service provider in a provincial city, who keeps a harem of six other halves and concubines. This paintings, identified basically for its erotic realism, is usually a landmark within the improvement of the narrative artwork form--not in simple terms from a particularly chinese language standpoint yet in a world-historical context.
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Extra resources for The Plum in the Golden Vase or, Chin P'ing Mei: Vol. 1, The Gathering
The effect of this technique, which is used throughout the novel so repeatedly as to cre ate a pattern, is to bring readers up short and remind them that, to the extent that they have allowed themselves to empathize with the events that they have just experienced vicariously, they have shown themselves to be，at x x x v iii INTRODUCTION least potentially, capable of the same, or similar，acts. This technique is, therefore, evidence not of the author’s failure to maintain a consistent tone, but rather of his constant endeavor to provoke self-reflection on the part of readers by carefully modulated manipulations of their distance from the events described in the text.
I believe that they are a mani festation of heteroglossia，and that they are intended to function dialogically，in the senses of those words expounded by the Russian critic M. M. Bakhtin in his book The Dialogic Imagination, from which I will quote a few key passages. The author participates in the novel (he is omnipresent in it) with almost no direct language of his own. The language of the novel is a system of languages that mutually and ideologically interanimate each other. . Therefore, there is no unitary language or style in the novel.
An-t'ung, page boy of Aunt Yang. A n -t ， ung，page boy of Miao T ’ien-hsiu who is rescued by a fisherman and does his utmost to see justice done for the murder of his master. An-t'ung, page boy of Wang Hsüan. Apricot Hermitage, Layman of. See Wang Hsüan. Autumn Chrysanthemum. See C h ， iu-chü. Barefaced Adept，Taoist master from the Fire Dragon Monastery in the Obdurate Grotto of the Vacuous Mountains from whom Yang Kuang-yen acquires the art of lying. Bean curd-selling crone who identifies the home of Commander Yiian in Potter’s Alley to Hsi-men C h’ing.