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-chueh 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

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.

David Tod Roy (1933-2016) was professor emeritus of Chinese literature at the University of Chicago. His monumental five-volume translation of the Chin P'ing Mei was completed in 2013.