Peach Blossom Spring: English-Chinese Parallel Translation

Author: Tang Xianzu
Publisher:
Publishing Date: 2001-05-01
Features: Introduction to the Original Work
"Peach Blossom Pavilion" was written by Tang Xianzu. Tang Xianzu (1550-1616) was a famous litterateur and dramatist from Linchuan, Jiangxi, during the Ming Dynasty. His courtesy name was Yiren, and he was also known as Hairuo, Ruoshi, and Qingyuan Daoren, as he had a Qingyuan Tower in his home. In his later years, he called himself Jiangweng. Tang Xianzu was already renowned for his literary talent in his youth. In the fourth year of the Longqing reign (1570), at the age of 21, he passed the provincial examination. In the fifth year of the Wanli reign (1577), he participated in the imperial examination, where Chief Minister Zhang Juzheng wanted his son Zhang Sixiu to pass, and he recruited famous scholars to elevate his son's status. Zhang Sixiu, following his father's instructions, associated with Tang Xianzu, Shen Maoxue, and others, who were highly regarded for their literary talent at the time. Tang Xianzu, being honest and upright, refused to curry favor or accept their invitations, resulting in his failure to pass the examination; Shen Maoxue, on the other hand, was willing to associate with Chief Minister Zhang Juzheng and his son, and thus passed as the top scholar. Zhang Sixiu became the second-ranked scholar. It was not until the eleventh year of the Wanli reign (1583), after Zhang Juzheng's death, that Tang Xianzu finally passed the imperial examination. However, due to his unwillingness to curry favor with new powerful figures, he was assigned to a low-ranking post in Nanjing as a of the Temple of the Great Sacrifices. Five years later, he was transferred to the position of Assistant Director of the Ministry of Rites in Nanjing. In the nineteenth year of the Wanli reign (1591), he was demoted to the position of Magistrate of Xunwen County in Guangdong after submitting the "Memorial on the Assistance of Ministers and the Examination of Officials," criticizing Grand Secretary Shen Shixing and commenting on the government's misrule. Two years later, he was transferred to the position of Magistrate of Suichang County in Zhejiang, but he still refused to align with powerful figures and showed great concern for the people's suffering, leading to criticism. He resigned from office in the twenty-sixth year of the Wanli reign (1598) and returned to his hometown three years later, where he was officially dismissed. Afterward, he moved from the suburbs to the city and devoted himself to writing in his self-built Yumin Hall. In his youth, Tang Xianzu studied under Luo Rufang, a third-generation disciple of Wang Ren of the Taizhou School, and later associated with thinkers like Li Zhi and Daoguan, who opposed Neo-Confucianism. Their ideas greatly influenced Tang Xianzu, who deeply admired them and revered them as "one hero and one." Tang Xianzu also had connections with writers of the Gong'an School, such as Yuan Hongdao, and was influenced by their literary thought. He emphasized originality, advocated for interest and creativity, opposed imitation, and was not bound by rigid rules, thus forming the Linchuan School in the field of opera at the time. Tang Xianzu's dramatic works, including "Zixiao Ji," "Zichai Ji" ( from "Zixiao Ji"), "Mudan Ting" (also known as "Huanhun Ji"), "Nanke Ji," and "Handan Ji," are collectively known as the "Four Dreams of Yumin Hall" or the "Four Dreams of Linchuan." His prose and poetry include "Hongquan Yicao," "Yongzao" (now lost), "Wenji Youcao," and the "Collected Works of Yumin Hall," which were published during his lifetime. Five years after his death, Han Jing edited the "Collected Works of Yumin Hall," among others. Modern scholars Qian Nanyang and Xu Shuoquan compiled the "Collected Works of Tang Xianzu." Among Tang Xianzu's dramatic works, "Mudan Ting" is the most accomplished, representing the maturity of his thoughts and art. He once said, "In my life of 'Four Dreams,' the most fulfilling is 'Mudan'" (as cited in Wang Siren's preface to "Mudan Ting"). This was not self-praise, as the play was widely loved by audiences at the time, with the saying that "it was almost as if 'West Chamber' had become less popular" (Shen Defu, "Guqu Zayan"). Many famous scholars, such as Lü Yusheng, Shen Jing, Zang Maoxun, and Feng Menglong, adapted the play, including Shen Jing's "Tongmeng Ji" and Feng Menglong's "Fengliu Meng." Shen's version is now lost, while Feng's remains. There are numerous printed versions of "Mudan Ting," including critical editions, such as Wu Wushan's "Tripartite Review Edition." Even today, this classic opera is still frequently performed on the Kunqu stage, with excerpts such as "Chunxiang Naoxue," "Youyuan Jingmeng," and "Shihu Jiahu," which are derived from the acts "Guixue," "Youyuan," "Shihu," and "Wanzhen" in "Mudan Ting." The story of "Mudan Ting" is based on existing tales, as Tang Xianzu stated in his preface: "The story of Du Taishou's daughter is similar to the tales of Li Zhongwen, the governor of Wuju in Jin, and Feng Xiaojiang, the governor of Guangzhou, in the Ming Dynasty. I have slightly modified and expanded them. As for Du Taishou torturing Liu Sheng, it is like the case of Tan Sheng being tortured by the Prince of Suiyang in the Han Dynasty." The "story of Du Taishou's daughter" refers to the Ming Dynasty story collection "Du Liangniang Mu Se Huanhun" found in "Yanjü Zhinian." Li Zhongwen's story is in "Soushen Houji" (also in "Taiping Guangji" volume 276, "Youming Lü"). Feng Xiaojiang's story is in Liu Jingshu's "Yi Yuan" (also in "Taiping Guangji" volume 276, "Youming Lü"). The Prince of Suiyang's story is in Gan Bao's "Soushen Ji" (also in "Taiping Guangji" volume 316, "Lieyi Zuan"). However, "Mudan Ting" is not an adaptation of these stories but rather a new plot inspired by them. Clearly, it reflects the author's personal experiences and the social characteristics of his time. For example, the act "Yeyu" was clearly inspired by his experience passing through Macao while being exiled to Xunwen. The plot in the act "Guishi," where Du Bao bribes Li Quan's wife to be honored as the "Golden Mother" and thus defeats Li Quan, reminds one of the generals Wang Chonggu, Wu Dui, Fang Fengshi, and Zheng Luo, who, with Zhang Juzheng's support, used San Nao to defeat Nada in the Ming Dynasty. Since the Song and Ming dynasties, Neo-Confucianism had flourished, emphasizing "preserving heaven's reason and eliminating human desires," imposing extremely strict demands on women's chastity, and vigorously praising chaste women and widows. The number of chaste women recorded in the "Biographies of Women" in the "Ming Shi" is many times greater than in any other dynastic history after the "Houhan Shi." The Taizhou School opposed the orthodox Neo-Confucianism from a philosophical perspective, and Tang Xianzu used his dramatic works to celebrate love as a critique of Neo-Confucianism. In the preface to "Mudan Ting," he advocated that for love, "the living may die, and the dead may live. Those who cannot be born again after death are not the ultimate expression of love." Du Liangniang dies for love and is reborn through love, which is impossible in real life, but Tang Xianzu believed, "If something is deemed impossible by reason, does that mean it is impossible for the heart?" He argued that love should not be constrained by reason. This clearly shows Tang Xianzu's emphasis on and praise for love, contrasting with his rejection and criticism of reason. He used a romantic style to portray Du Liangniang's experiences, which was in fact a powerful critique of the real world that suppressed humanity. When she undergoes the trials of life and death and finally marries her ideal lover, Liu Mengmei, Du Bao, the embodiment of feudal etiquette and her father, still refuses to recognize her. This not only reflects the stubbornness of feudal etiquette but also shows the difficulty young men and women face in fighting for their own happiness. After its debut, "Mudan Ting" had a profound impact on both its time and later generations, shaking the hearts of countless women under feudal rule and evoking strong about their own misfortunes. For example, it is said that a woman named Yu Erniang from Loujiang, who read the play, wept so uncontrollably that she died of a broken heart; a female actress named Shang Xiaoling in Hangzhou, who performed the play, was so moved that she also died of sorrow. Readers should note that the characters in the classic opera are artistic creations and should not be compared to the historical facts of real people. Excerpt: The old couple heard their daughter's filial piety and were overjoyed, saying in unison, "How can our child be so filial." Du Liangniang first offered a cup of wine: "Wishing my parents good health!" Then she offered another cup: "Wishing my father a long career!" The third cup: "May my mother have a son in her later years, so that I can play with my little brother in the flowers!" The third cup of wine touched the old couple's hearts deeply. Du Bao asked Chunxiang to pour a cup of wine for Du Liangniang and turned to his wife, saying, "My dear, I am even more pitiful than the old Du Taishou, who still had a son. I only have a daughter." With that, he was moved to tears. Seeing Du Liangniang before him, Du Bao feared his words would hurt his daughter's feelings and quickly said, "Don't worry, my dear. If you find a good husband, he will be just as good as a son." Du Bao couldn't help but laugh, "As good as a son!" Du Bao's wife retorted, "Daughters can also bring honor to the family. As the old saying goes, 'Don't be happy about having a son, don't be sad about having a daughter. Look at your daughter making a name for the family.' You're not old yet, and you're already nagging!" Realizing he shouldn't have said such things in front of his daughter, Du Bao told her to pack the tableware and leave. After Du Liangniang left, he called Chunxiang over, "Chunxiang, what does the young mistress do all day in her sewing room?" Disgusted by her husband's fussing, Chunxiang replied, "Of course, she sews in the sewing room." "Sews what?" Du Bao was surprised. "Sews cotton!" Chunxiang replied irritably. "What kind of cotton?" "Sleeping cotton!" Du Bao was furious and turned to his wife, "Good, good. My dear, you teach your daughter sewing, yet you let her sleep idly. What kind of upbringing is this? Call your daughter!" Hearing her father call her, Du Liangniang returned to the back hall, "Father, what instructions do you have?" Du Bao suppressed his earlier joy and said sternly, "After asking Chunxiang, I see why you sleep during the day. If you have free time after sewing, you can read the books on the shelf. When you marry, being educated and cultured will bring honor to your parents. This kind of idleness is all due to your mother's poor upbringing." Although Du Bao's wife thought his words had some merit, she feared they were too harsh and said gently, "My dear, look at our daughter before you. She is a pearl in our hands, truly a beauty among women. It's hard work to raise her, but my heart is filled with joy." She then changed the subject, "Ah, child, you should think carefully about what your father said. Even as a girl, you can't be ignorant of the classics!" Seeing that both parents were so insistent, Du Liangniang felt wronged but didn't dare to argue: "I report to my parents that it's not my fault for being dull—just finished drawing the sewing chart. From now on, after meals, I will take time to read the books on the shelf." Seeing her daughter agree, Du Bao's wife was delighted and encouraged her further, "Child, there are too many books to read, but you must read the 'Rites of Zhou.' It's important to know etiquette. As a lady of high status, you can't just know needlework. You should be like the ancient scholars Ban Zhao and Xie Daoyun. My dear, it would be best if we had a female teacher to teach you." Hearing his wife and daughter's conversation, Du Bao felt relieved and said, "Where can we find a female teacher? We can only hire an old scholar from the school. But once we hire a teacher, we must treat them well and not be rude. First, we must not let the girl be disrespectful, and second, we must ensure they have enough food and drink. Look, my skills in governing the state and managing the family all came from reading books."