. Introduction
"Jin Ping Mei" was once banned and restricted from publication in China, but this book has long been circulated outside the domain, and various unique foreign language translations have appeared.
Regarding the topic of "Jin Ping Mei" abroad", Chinese scholar Wang Lina has published articles, and Chinese people can also see "Jin Ping Mei Western Papers" (Shanghai: Shanghai Ancient Books Publishing House , 1987).
In addition, Taiwanese scholar Wei Ziyun (1918-2005) talks about "the current situation of Asian countries' research on "Jin Ping Mei" in recent years." [1]
This article will discuss topics that the predecessors have not yet studied specifically: the characteristics and destiny of the foreign translation of "Jin Ping Mei", such as "delete and not delete", "forbidden and not prohibit".
2. "Jin Ping Mei" German, French and German translations
Franz Kuhn. Kin PingMeh, oder, Die Abenteuerliche Geschichte von Hsi Men und seinen sechsFrauen (Leipzig: Insel-Verlag, 1930; Wiesbaden: Insel-Verlag, 1955, 1970).
Franz Kuhn (Kuhn, 1884-1961) This book is a translation, with 49 chapters in the whole book, and only the story of Ximen Qing and six wives and concubines is preserved, and details of the side branches are omitted.
German commentary circles have criticized Kuhn's translation because Kuhn Adding fuel to the sexual description in the book,
"So, this translation left a distorted impression on Europeans: "Jin Ping Mei" is nothing more than an obscene novel! This version was translated into many European texts and widely spread. His translation was also banned in the late Nazi rule (1942) . Later, this translation was always placed on the bookshelf of obscene novels in German bookstores. It can be said that this translation is not serious and has had a negative impact on this world famous work."[2]
French scholar (René Étiemble, 1909-2002) also expressed opposition to Kuhn's "details of one and the other". [3]
German translation inner page
Although that is the case, it is said that early French, Swedish, Finland, Hungarian and other translations were mostly translated based on Kuhn's German translation.
, like Kuhn, there is also the Japanese "Jin Ping Mei" (Department Bookstore, 2007). This book is also "completely written in sexual description, written in him". [4]
In other words, only the sexual description in the book "Jin Ping Mei" is completely translated into Japanese, and other plots may not be fully translated.
Hiroya Toriya himself has a special study on the subject of "sexual love", and has written "Taoism: The Secret Method of Sexual Love in Ancient Chinese People" (Tokyo: Wen Yi Spring and Autumn, Heisei 15 [2003]). [5]
In May 1944, the Kuhn translation was lifted. [6] Since then, the book has been printed and widely circulated.
Otto and ArturKibat. Djin Ping Meh: Schlehenblüten in goldener Vase
This complete translation is translated by two brothers Otto Kibat and Artur Kibat. It is said that it took the Kibat brothers thirty years to translate the book. [7]
This book was published in five volumes from 1967 to 1983. [8] According to Zhan Chunhua's book "Outline and Bibliography of the German Translation of Ancient Chinese Literature", the Kibat Brothers' translation has been published in , Berlin , Munich, Zurich and other places, with different volumes. [9]
About the full German translation (six volumes), please refer to Li Shixun: "About the full translation of Jin Ping Meide: Translator Qi Ba Brothers and Others", published in Journal of Xuzhou Normal University, No. 1, 1992, pages 32-33.
According to Li Shixun, the first volume of the Kibat brothers (the first ten chapters) was destroyed by during the Nazi period. However, French scholar René Étiemble said that there were 49 chapters destroyed. [10]
Currently, the Kibat brothers translation is classified as the "World Literary Classic" category in Germany.[11] French scholar André Lévy praised the complete and beautiful translation of the Kibat brothers. [12]
German translations of the book
method translations of two types of
Jean-Pierre Porret, KinP'ing Mei; ou, La merveilleuse historie de Hsi Men avec ses six femme(Paris: G. Le Prat, 1949- ?).
This method translation is based on Franz Kuhn The German translation is naturally also a seminal translation. The author has not seen this book, and I do not know the details.
French scholars (René Étiemble) have a low evaluation of this section translation and many of them have derogatory criticism. [13]
It is said that after the publication of the first volume of this translation (1949), the French government was worried that Ximen Qing's lifestyle would have adverse effects on French society, so it issued a ban on books. It was not until 1979 that the ban was lifted that the publisher had to publish the following text. [14]
André Lévy, Fleur En Fiole D'or (Paris: Gallimard, 1985).
This book was translated by André Lévy (Lei Wei'an, 1925–2017) according to "Jin Ping Mei Cihua", with two volumes in total. The first book contains André Lévy's Introduction (Introduction), which is 41 pages long. The first half of this introduction has been translated in Chinese, and is found in "Jin Ping Mei's Western Papers" (Shanghai: Shanghai Ancient Books Publishing House 1987).
Lévy clearly stated that the research on the author of "Jin Ping Mei" will be futile. [15] He has also published academic papers related to "Jin Ping Mei". [16]
Lévy divides the story of the book into ten volumes, each volume covers the content of the original ten chapters, each with a title. For example, the first thirty chapters are summarized into three volumes by the translator:
‧Lotus-d'or (Golden Lotus)
‧Fiole (bottle)
‧Lotus-de-Bonté (Hui Lian)
André Lévy This book also has abridged, but it is not the sexual description of the original work.
It turns out, Lévy Pay attention to the readability of translations, and the outline is to improve the readability of the French translation. He said:
"Doesn't there be priority to keep readers' interest in reading between the difficult sentences and the wonderful twists that make people confused? This is why we have made some abridges from the 40th chapter . The abridged methods are different, but they are not as wide as the abridged range of the revised version in the 17th century. […]" [17]
Maybe someone would suggest: the problem can be solved by using the method of "no abridged, more translation annotations". In this regard, André Lévy stated: "Our translation is intended to provide a book that can be understood without the help of comments." [18]
In fact, there are many comments in the translation of Lévy: Pages 1051 to Pages 1262 of the first volume, are all translated notes. The translation and annotation of the second volume also accounts for nearly 200 pages.
Some text details, Lévy also explained to Western readers, for example: "Kuai zhi ren kou" (popular) is an entry for the translation annotation. [19]
Some translations and annotations reflect the opinions of Chinese scholars. For example, when explaining "Mingxianli", Lévy quoted the statement of "Jin Ping Mei New Certificate".
However, if you talk about the many and detailed translations, the translation of Lévy is still a bit far from the English translation of American translator David Roy. DavidRoy is very re-interpreted (please see below). [20]
. Japanese translation of "Jin Ping Mei", Vietnamese translation, Korean translation
(1) Japanese translation
Before World War II , Japan did not have a complete Japanese translation of "Jin Ping Mei". [21]
After the war, the Japanese translations translated according to "Jin Ping Mei Cihua" include: Ono Shinobu ONO (1906-1981) and Kuichi CHIDA (1912-1965), and the completed translation of R.OKAMOTO .
The translations translated by the First Qi Book include: Tokuji OZAKA's "Full Translation of Jin Ping Mei" published by Tokyo East-West Press (1948-1949), with a total of four volumes.
In addition, "Kin Ping Mei" translated by Tomoyuki MURAKAMI (1899-1976) (published by Kakugawa Bookstore from 1973 to 1974, 4 volumes; Chuma Study Room, 2000) is a "copy and translated version".
Japanese translation
There are many other Japanese compiled and rewritten versions, and they cannot be introduced one by one here. The author believes that the following two are relatively excellent Japanese translations.
Ono Shinin and Chida Kyuichi combined the "Jin Ping Mei"
Ono Shinin and Chida Kyuichi Japanese translation was translated from the vernacular version and published in 1948-1949 (Tokyo Oriental Book Company, only four volumes and 40 chapters).
959, this translation was compiled into the "Complete Collection of Chinese Classical Literature" by the Tokyo Pingfan Society, with a total of three volumes (that is, the 15th, 16th, and 17th volumes in the "Complete Collection". Later, it was compiled into the "System of Chinese Classical Literature" (Volumes 33, 34, and 35).
Between 11973 and 1974, Tokyo Iwaha Bookstore published a revised version of the translation, a total of 10 volumes. [22] The version of the Ordinary Society of
(1959) at the end of the first volume (after the 31st chapter) is accompanied by a "commentary" written by Ono Shinin. It discusses the background, version, characteristics, materials, differences between the episode and the Chongzhen version, and the European translation of Ono Shininin. Finally, it briefly introduces Ono Shinin's own translation. Ono Shinin also wrote a postscript of translation, called "Critical Research on "Jin Ping Mei". [23] The translation of
Ono and Chida (1959) also has some deletions and untranslated points. For example, the 27th chapter " Pan Jinlian Drunken Grape Rack" describes Ximen Qing and Pan Jinlian having sex, and the text "So I first cut out..." to "I am now in a sequel to the one who is in a state of great success" has not been translated into Japanese.
The translator explained why "omitted" in the translation notes, and published the original Chinese text that was omitted and untranslated on page 267.
However, this original Chinese text is not recorded in the full text: the original Chinese text below "How many are you given away" (a total of 1,69 characters) is still omitted.
, the situation of "not translating, appendix to the original Chinese text, but not fully attached" seems to reflect the translator's inner "consideration".
Translated by Takashi Okamoto: "Full translation of Jin Ping Mei" (Tokyo: Ledansha , Showa 46[1971]-1974).
This book is translated from the vernacular version of "Jin Ping Mei". In his translation notes, Takazo Okamoto pointed out some confusion in the descriptions of the vocabulary book. [24] translation is divided into four volumes (a total of four volumes), each volume has its own subtitles written by the translator:
‧Volume 1, demon flamevolume
‧Volume 2, stirring up troublevolume
‧Volume 3, love grudgevolume
‧Volume 4, unconventionalvolume
At the end of the first volume, there is an "explanation" article attached. In this "explanation", Takazo Okamoto explained that he had referred to the translation of "Ono Chida".
The translation of Okamoto Takazo is a "complete translation", which is actually an abridgement of Ono and Chida. [25] The 27th chapter of "Jin Ping Mei" "The Grape Rack", Ono and Chida's translation are omitted and not translated, but Okamoto Takazo did not avoid it. The translation is found on page 1 of Album 366-367.
Okamoto Takazo has specialized in the phenomenon of foot binding in ancient China and has written the book "History of Foot Binding". [26]
In "Full Translation of Jin Ping Mei", he also explained in detail to readers what "Golden Lotus" means (Volume 1, page 29).
Similar comments also have the first comment in the second chapter (Page 49) and the first comment in the seventh chapter (Page 93).
Chapter 7 translation note: In ancient China, women had to have small feet to be worthy of being called "beauty" (Page 93).
Japanese translation
Regarding the situation of "Jin Ping Mei" in Japan, please refer to: Ono Shinto's article "Jin Ping Mei's Japanese and European translation"; Sawada Mizuho's "About the Research Materials for the Renovation of Jin Ping Mei" (Tokyo: Chinese Literature Society of Waseda University, October 1, 1981); compiled by Huang Lin and Wang Guoan: "Japan Research on Jin Ping Mei" (Jinan: Qilu Bookstore, 1989).
In recent years, Zhang Yihong published "Commentary on the Translation and Introduction of Japanese Jin Ping Mei", published in "Japanese Research" Issue 4, 2012.
This article points out that the translation history of "Jin Ping Mei" in Japan can be roughly divided into three stages: Annotation and adaptation stage of in the Edo period; quintessence stage of the Meiji period; Full translation stage after in World War II.
Zhang Yihong briefly introduced the characteristics, circulation and impact of each Japanese translation of "Jin Ping Mei" in the three stages. At the same time, he discussed the huge impact of the rejection and acceptance, silence and popularity of the translation of "Jin Ping Mei" in Japan by factors such as ideological , literary thoughts, patrons and translator identity. [27]
Japanese translation
(2) Vietnamese translation
Vietnamese translation 12 episodes, published by the Zhaoyang Publishing House of Sai Kung City in 1969.
The preface of this book clearly mentions the issue of "publishing permit certificate". It can be seen that whether the translation can be published in Vietnam is a big question.
For this book, readers can refer to Ruan Nan: "Mixture of Fish and Dragons: Cultural Translation and Jin Ping Mei circulating in Vietnam", published in Chen Yiyuan Editor: "Proceedings of the 2012 Taiwan Jin Ping Mei International Academic Symposium" (Taipei: Liren Book Company, 2013), pages 555-591.
Nguyen pointed out that Nguyen Guoxiong's Vietnamese translation was translated from the "clean version", but claimed to readers that it was based on a "most complete and richest" original translation. At the same time, "[Ruan Guoxiong] Yue's translation further translates those chapters that have been 'clean' into more 'clean'." (Page 578).
Vietnamese translation
(3) Korean translation
About the Korean translation, readers can refer to Kim Jae-min: "The broadcast, research and influence of Jin Ping Mei in Korea", published in " Ming and Qing novel research ", Issue 4, 2002.
Research reports in recent years include Cui Yongche , Yu Chunji: "A survey on the translation of Jin Ping Mei Korean texts ", published in Chen Yiyuan, editor-in-chief: "Proceedings of the 2012 Taiwan Jin Ping Mei International Academic Seminar" (Taipei: Liren Book Company, 2013), pages 669-686.
Korean "full translation" is about six types: Jinlong Jiben (1956), Jin Dong Chong (1962), Zhao Cheng's release version (1971, 1993), Park Soo Jin (1991-1993), and Kang Tai Quan (2002).
The so-called "about six types" is because some "full translations" may not be the real "full translations".
Jin Dongcheng translation (Yiyou Press, 1962) does not translate foul language, but only the original text is included for reference. Park Soo Jinben also deleted some of the sexual descriptions.
Korean translation
4. The English and American translations of "Jin Ping Mei"
"full translation" of "Jin Ping Mei" in the last century, there was only one type of Clement Egerton (in fact, the book also omitted a few details).
also has a translation of Bernard Miall, which is a translation version that only presents the main story trunks related to Ximen Qing. It was not until the 21st century that David Tod Roy's full translation was available.
Clement Egerton, The Golden Lotus(London: Routledge, 1939).
Egerton translated from the Zhangzhupo review version, there is a revised version in 1954. Reprinted in 1972 by Paragon Book Gallery in New York. There are a variety of reprints of this book. [28] The first volume of
(1939) contains an introduction article, and the translator explained that he spent fifteen years on translation work.
However, some fragments of the original work were not translated into English, and he explained: ...if the book was to be produced at all, it must be produced in itsentirety. But it could not all go into English, and the reader will therefore be exasperated to find occasional long passages in Latin. I am sorry about these, but there was nothing else to do. (p.viii)
The so-called passages in Latin refer to some sexual descriptions in the original work that he presented in Latin. Later, these Latin fragments were translated into English by someone else (J. M. Franklin). [29]
1937 translation
By 2008, the Egerton translation was adapted into a Chinese-English comparison version of "Greater Chinese Library‧Jin Ping Mei", published by People's Literature Publishing House .
This book translates Clement Egerton as "Clement Egerton". There are many flaws in the text arrangement of the comparison book. The author has written an article to discuss this in detail, so I will not repeat it here.
It is worth mentioning that when it comes to sexual description, this book adopts the double standard of : Chinese text is abridged, and translation is not deleted. Doing this actually violates the principle of "Chinese-English comparison". The translation of
Egerton was reprinted in 2011 and was published by CharlesE. Tuttle. In this edition, the proper noun is used in Chinese pinyin, and the beginning of the volume contains the introduction newly written by Robert Hegel.
Hegel introduces readers to the basic knowledge related to "Jin Ping Mei" and describes Egerton's life and deeds.
Hegel believes that Egerton's collaborator Shu Qingchun (1899-1966, pseudonym Lao She ) may first draft a rough translation and then retouched by Egerton. Hegel said: It seems much more likely that as his Chinese tutor Shu might have provided a rough translation, which Egerton then spend years polishing into its present form. (p.18) Shu in this passage is Shu Qingchun.
Egerton Translation tends to be simplified. Sometimes translators will ignore some details of the original work (as opposed to David Roy's approach), such as: the original work has some cryptic words, jokes and puns, but Egerton has not translated it. The specific situation is found in "Selected Works of Hong Tao's Research on Jin Ping Mei" (Taipei: Taiwan Student Bookstore Co., Ltd., 2015.
"Great Chinese Library·Jin Ping Mei"
Bernard Miall, Chin P'ing Mei: TheAdventurous History of Hsi Men and His Six Wives (London: John Lane, 1939).
This translation is translated from Franz Kuhn's German translation, so it is like the Kuhn translation, with only 49 chapters in the whole book.
This book has a reprint of Putnam (1940) by New York; there was a reprint of Capricorn Books in the 1960s. Why is
so incomplete content, and booksellers are willing to reprint this book? The reason may be that Miall can maintain the continuity of the plot, and the translation is vivid and readable.
Lionel Giles Comment: There is a lot of paraphrase and unnecessaryembroidery, but the frequent omissions are so skillfully contributed that thethread of the story suffers very little, if at all. Mr. Miall has an agreed-oriented style, and he has produced a most readable book, but I am afraid it is not quite the Chin P'ing Mei. [30]
Miall This translation can only be called a simple translation. For example, in the 27th chapter of the original work, Ximen Qing had sex with Pan Jinlian after waking up. The original work describes the intercourse process without getting tired of it. However, the Miall translation (Chapter Twenty-One Inthe Vine Arbour Gold Lotus and Hsi Mencelebrate) only presents one summary:
But an hour later Hsi Men was awake again, and as he wok hislustful desires revived.
When he had once moresatisfied them he released Gold Lotus from his embrace. She lay alone on the mats, completely exhausted, and hardly able to breathe; the tip of hertongue seemed cold as ice. At last he released her feet, and helped her toassume a comfortable, half-sitting posture. Gradually life returned to her.(p.320-321)
can be seen. Miall explains the process of sexual intercourse with the extremely simple sentence "When he had once moresatisfied" (Ximen Qing satisfied again).
English translation
Miall The first volume of the translation is the preface of the famous translator Arthur Waley (1889-1966), discussing the literary value, writing situation, era background, author, version, ban on destruction, etc. of "Jin Ping Mei".
It is worth noting that Waley believes that the author of "Jin Ping Mei" may be Xu Wei . He said: Of possible candidates for the authorship of the Chin P’ing Mei Ipersonally regard Hsü Wei as the strongest. (p.xvi)Note: Hsü Wei is Xu Wei.
By the end of the 20th century, the statement that "Xu Wei was the author of "Jin Ping Mei"" was supported by Chinese scholar Pan Chengyu .
Pan Chengyu's argument is very detailed and worth referring to. [31] Shanghai University Quan Liang, a graduate student in ancient literature, also wrote "Jin Ping Mei author Xu Wei's supplementary evidence" (dissertation).
David Tod Roy, The Plum in the Golden Vase or, Chin P'ing Mei (Princeton:Princeton University Press, 1993-2013).
This book is translated from "Jin Ping Mei Cihua". The book is divided into five volumes, with twenty chapters in each volume.
Translator David Tod Roy The Chinese name is Rui Xiaowei . The translation is divided into five volumes, each with title:
‧Volume One: The Gathering (poly)
‧Volume Two: The Rivals (opponent)
‧Volume Three: The Aphrodisiac (aphrodisiac)
‧Volume Four: The Climax (climax)
‧Volume Five: The Dissolution (poly)
Roy The first volume of the translation was published in 1993; the second volume was published in 2001, the third volume was published in 2006, the fourth volume was published in 2011, and the fifth volume was published in 2013. In other words, it took David Roy more than twenty years to complete this huge project.
This translation plot is basically complete. Roy also attaches great importance to the original idioms, allusions, and other subsections. He should try to translate and trace the origin of the slightly special words in the book.
Therefore, the translation of The Plum in the GoldenVase is rarely simplified, and the translation and annotations are particularly abundant. For example, the main part of the fourth volume has 688 pages, and the annotations are 166 pages;
The last volume has the shortest length, but the main part also has 420 pages, and there are 80 pages of comments. Some scholars believe that the readers of Roy's translation are not limited to ordinary readers. [32]
English translation
David Roy translations are numerous, and there is a reason.He believed that other European translations or sections may be poor, so he intended to present the "authentic form" of "Jin Ping Mei".
Roy Statement: This complete andannotated translation aims to faithfully represent and elucidate all thermal features of the original in its most authentic form and thereby enable the Western reader to appreciate this Chinese masterpiece at its struggle. (This passage is excerpted from the introduction on the translation envelope.)
David Roy in addition to doing translation, he also published research articles on "Jin Ping Mei". The focus of his discussion was on the author's questions and Zhang Zhupo's comments. He believes that the author of "Jin Ping Mei" may be Tang Xianzu . [33]
The author is more familiar with the overview of the English translation and has detailed analysis and explanation of the various situations of the English translation. If readers are interested, they may wish to refer to "Selected Works of Hong Tao Jin Ping Mei Research" (Taipei: Taiwan Student Bookstore Co., Ltd., 2015).
. Summary: The fate of the foreign translation
The description of sex in "Jin Ping Mei" is particularly eye-catching. People have spent a lot of time debating "whether to be a mischievous book", "forbidden or not to be disabled", "delete or not to be deleted".
The foreign translation of "Jin Ping Mei" also faces these problems, and some foreign translations are prohibited from being sold by the local government.
However, some translators are very interested in the description of sexuality, such as Kuhn's German translation and Tuya's Japanese translation, both of which are willing to present the descriptions of sexuality in the book.
People in the world read the English translation and pay special attention to how the English translation presents (or does not present) physical and sexual activities. This kind of "attention" can be seen from the following papers:
‧Liu Huawen :〈How to translate the body? ──Taking the English translation of "Jin Ping Mei" as an example>, published in "Civil Translation" Issue 4, 2011, pages 89-97.
‧Zheng Yiting: 〈or authentic or out of flavor? ─On the description of Xianshi in the English translation of Clement Egerton and David Roy, published in the "2012 Taiwan Jinping Mei International Academic Symposium" edited by Chen Yiyuan (Taipei: Liren Book Company, 2013).
In fact, some foreign translations not only did not delete the sexual description of "Jin Ping Mei", but instead made it deliberately, which seemed to cater to the preferences of some readers (i.e. "So to their preferences").
"Lanling Xiaoxiaosheng and Jin Pingmei" (Taiwan) Hu Yanan wrote
In the new millennium, some scholars believe that sexual description has a great effect. For example, in Taiwan, Hu Yanan believes that:
"Sexual description is not only not enough to make it [Jin Pingmei] bear the crime of "elude book", but even makes this realistic novel even greater." [34]
in mainland China Huo Xianjun believes that sexual description is an allusion "cover" and he praised: "How clever the author's technique is." [35]
Of course, some foreign translations are also prohibited from being distributed like the original work of "Jin Ping Mei", such as: German and French translations. In the foreign version of
, abridged phenomenon is also very common. Some Vietnamese, Korean, Japanese and English versions avoid the "filthy words" of "Jin Ping Mei".
In addition, the "Latin fragments" in Egerton's English translation (1939), the "(sexual description) Chinese abridged and undeleted translations" by People's Literature Press, and the "not translated, appendix to the original Chinese text, but not all attached", these strange phenomena reflect that "Jin Ping Mei" is a concentrated place for conflicts between various social concepts (including "power"). [36]
(revised in Hong Kong in Autumn 2018)
Note
[1] Wang Lina's article, seen in Lu Xun, Zheng Zhenduo, etc.: "Jin Ping Mei in the Eyes of Famous Artists" (Beijing: Culture and Art Press, 2006), pages below 268. Wei Ziyun: "Theory of Jin Ping Mei" (Taipei: Taiwan Commercial Press, 1990), pp. 172-185.
[2] Excerpted from the blog of scholar Li Shixun: http://blog.sina.com.cn/s/blog_70adf15401015mku.html (Readed on December 17, 2013.)
[3] Edited by Xu Shuofang; translated by Shen Hengshou et al.: "Jin Ping Mei Western Papers Collection", page 286.
[4] According to http://www.weblio.jp/wkpja/content/Jinping Mei_Bang. (Readed in February 2014)
[5] Pages 38, 39, 128 of this book all mention "Jin Ping Mei".
[6] AndréLévy, Jin Ping Mei: Fleur en Fiole d'or (Paris: Gallimard, 1985), vol.1,p.viii.
[7] Cao Weidong: "Chinese Literature in Germany" (Guangzhou: Huacheng Publishing House, 2002), page 83.
[8] Edited by Xu Shuofang; translated by Shen Hengshou et al.: "Jin Ping Mei's Western Papers", page 287. Note that the Kibat brothers have published this book in different cities.
[9] Zhan Chunhua: "Outline and Bibliography of the German Translation of Ancient Chinese Literature" (Beijing: China Literature and History Press, 2011), page 58.
[10] Edited by Xu Shuofang; translated by Shen Hengshou et al.: "Collection of Western Papers of Jin Ping Mei", page 287.
[11] The translation of the Kibat brothers has a brief book review: H.Bruce Collier, “Djin Ping Meh by Artur Kibat; Otto Kibat; King PingMeh by Franz Kuhn; Chin P'ing Mei, the Adventurous History of Hsi Menand His Six Wives by Bernard Miall; Franz Kuhn; The Golden Lotus by Clement Egerton,” Isis, Vol. 35, No. 4 (Autumn, 1944), pp. 344-346.
[12] AndréLévy, Jin Ping Mei: Fleur en Fiole d'or (Paris: Gallimard, 1985), vol.1,p.v.
[13] Edited by Xu Shuofang; translated by Shen Hengshou et al.: "Collection of Western Papers of Jin Ping Mei", pages 291-292.
[14] Lu Xun, Zheng Zhenduo: "Jin Ping Mei in the Eyes of Famous Masters", page 278. Forbidden matters, wait for examination.
[15] See Zhang Bing’s selection: "Jin Ping Mei Talk" (Nanchang: Jiangxi Education Press, 1999), pages 465-470.
[16] AndreLevy, "About the Date of the First Printed Edition of the Chin P'ing Mei," Chinese Literature: Essays, Articles, Reviews (Jan. 1979), p.43-47.
[17] Edited by Xu Shuofang; translated by Shen Hengshou et al.: "Collection of the Western Papers of Jin Ping Mei", page 270. André Lévy, Jin Ping Mei: Fleur en Fiole d'or(Paris: Gallimard, 1985), vol.1, p.x.
[18] "Jin Ping Mei's Western Papers", page 271.
[19] "Popular" is seen in the Xinxin Sub-Princess of "Jin Ping Mei". When Lévy translates the preface to Xinxin, he explains the meaning of some words.
[20] This book contains W. L. Idema and Andrew Plaks's book reviews, and the publication information is as follows: (1) “Fleur en Fiole d'Or (Jin Ping Mei cihua) by André Lévy”, T'oung Pao, Second Series, Vol. 75, Livr. 1/3 (1989),pp. 182-183. (2) “Fleur en Fiole d'Or (Jin Ping Mei cihua) by André Lévy”, Journal of the American Oriental Society, Vol. 108, No. 1 (Jan. -Mar., 1988), pp. 142-145.
[21] This is what Ono Shinin said. See Ono Shinin: "Jin Ping Mei's Japanese Translation and European Translation", published in "Chinese and Foreign Literature" 4:8 (1976), page 97. The full text is published on pages 94-100.
[22] Ono Shinin also translated "Journey to the West" into Japanese and was also included in the "Iwaha Library". Unfortunately, Ono Ninja died in 1983 and failed to achieve his full success. This book was later translated by Miyoko Nakano.
[23] Ono Shinin's article was published in the Journal of Asian Studies in 1963.The Chinese translation is found in Bao Zhennan and Kou Xiaowei's edited and selected: "Jin Ping Mei and Others" (Changchun: Jilin Literature and History Press, 1991), pages 142-157.
[24] See the first volume of this translation, page 354, page 367.
[25] See the explanation of Okamoto’s translation page 1, page 382.
[26] This book has a Chinese translation, namely Takazo Okamoto; Ma Chaohong translated: "History of Foot Binding" (Beijing: Commercial Press, 2011).
[27] Zhang Yihong: The article "Commentary on Translation and Introduction of Japanese Jin Ping Mei", published in "Japanese Research" Issue 4, 2012, page 117.
[_^strong:e858e1b7!][28] Robert Hegel said: Egerton's translation of Jin Ping Mei has undergone 25 editions since its first appearance in1939.
[29] See "Volume 1" of this book.
[_^strong:3d4e3a2d!][30] Excerpted from Lionel Giles' book review, see in Journal of the Royal Asian Society of Great Britain and Ireland, No. 3 (July, 1940), pp. 370.
[31] See Pan Chengyu's "New Certificate of Jin Ping Mei" (Hefei: Huangshan Bookstore, 1999). Pan Chengyu believed that Xu Wei wrote "Jin Ping Mei" because he was moved by the rural style and was inspired by Shen Lian's death.
[32] Mr. Huang Wei: "Research and Translation of Jin Ping Mei in the English World", published in "Ligeng Journal" Issue 2, 2011, pages 167-75.
[33] DavidT. Roy, “The Case for T'ang Hsien-Tsu's Authorship of the Jin Ping Mei”, ChineseLiterature: Essays, Articles, Reviews (CLEAR), Vol. 8, No. 1/2 (Jul., 1986), pp. 31-62,
[34] Hu Yannan: "Jin Ping Mei to Dream of the Red Chamber: Research on long novels about worldly love in the Ming and Qing Dynasties" (Taipei: Liren Book Company, 2009), page 81.
[35] Huo Xianjun: "The Essence of Jin Ping Mei Art" (Tianjin: Tianjin Ancient Books Publishing House, 2010), page 166.
[36] Other scholars also discussed related contradictions and conflicts, such as Zhang Jinde: "New Perspective of Jin Ping Mei" (Beijing: China Social Sciences Press, 2014) Chapter 3, Section 1 talks about the dispute between "teaching lust" and "education".
Article Author unit: Chinese University of Hong Kong
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