404:, act and speak in accordance with their high class backgrounds. Jin particularly expresses his admiration for Yingying's beauty and character, and modifies any scenes which he feels painted her in too vulgar a light. Other changes are made for the simple reason of achieving superior literary effect. In the arias of the play, these changes include removing supernumerary words and changing words to more vivid descriptors. The strict metrical requirements of the aria format makes it difficult for Jin to make large-scale changes to these sections. However, some changes do violate the rhyme scheme as it existed during the Tang dynasty or the rules of prosody. In the spoken sections of the play, Jin is much more liberal in making editorial changes. Many of these are intended to accentuate the emotions of the characters. The end result is that Jin's version of the play is an excellent literary work, but was viewed by contemporaries as unfit for the stage.
100:, a place celebrated for its culture and elegance. Jin's family was of the scholar-gentry class, but was constantly plagued by sickness and death, which led in turn to little wealth. Jin's father was apparently a scholar. Jin began schooling relatively late, attending a village school at the age of nine. He displayed great intellectual curiosity, and had somewhat unusual ideas. However, he was a conscientious student. Early in life, he took the style name "Shengtan", a phrase from the
347:, the leader of the group. Jin's removal of the last 30 (or 50) chapters of the novel can be seen as an extension of his condemnation of banditry. In these chapters, the bandits are pardoned by Imperial edict, and are put in service of the country. Jin's version, by contrast, has all of the bandits captured and executed. He follows this ending with eight reasons why outlawry can never be tolerated.
270:. In Jin's view, the authoring of books by commoners would lead to the undermining of heavenly order and peace. He saw his commentary as the only way to minimize the damage caused by books "authored" by those who were unworthy to do so. In writing his commentaries, Jin firmly believed that the story that was written should be read on its own terms, apart from reality. In his commentary on
389:. It begins with two prefaces outlining Jin's reasons for writing the commentary followed by a third with notes on how the play should be read. The play itself follows, with introductory marks preceding each chapter and critical comments frequently inserted in the text itself. Jin undertakes fewer major structural alterations in this commentary than he does in critiquing the
312:. The next section is entitled "How to Read the Fifth Work of Genius". In addition to advice for the reader, this section contains Jin's thoughts on the literary achievements of the novel as a whole. The novel itself comes next, with introductory marks preceding each chapter, and critical comments inserted frequently between passages, sentences, and even words of the text.
433:, proclaimed that Jin was possessed by a spirit, explaining his talent. In a biography of Jin, Liao Yan wrote that Jin had discovered the entire secret of competition. Some contemporaries and later writers did denounce Jin on moral grounds. Jin's contemporary Kui Zhuang called him "greedy, perverse, licentious, and eccentric".
359:. This second theory is far-fetched, as the emperor's decree banning the novel was not promulgated until a year after the completion of Jin's commentary. Jin's views on the characters aside, he has unconditional praise for the novel as a work of art. He praises the vivid and lively characters of the novel, saying, "The
417:. Jin does, however, comment on Part V of the play. This part has been thought by some commentators to be a continuation added by an author other than Wang Shifu. Jin agrees with this view, criticizing the last part as being inferior in quality to the previous sections and continuing the story past its vital point.
274:, he wrote, "the meaning lies in the writing, and does not lie in the event". In other words, it is the story that is written that matters, rather than how well that story emulates reality. At the same time, Jin believed that authorial intention is less important than the commentator's reading of a story. In his
329:
is referred to by scholars as the "70-Chapter
Edition". In addition to the large changes described above, Jin also changes the text of the remaining chapters in three general ways. First, he improves the consistency of some sections, such that, for example, chapters whose content do not match their
324:
has a vision of the execution of the band, and amends this to the second half of chapter 71. Jin also combines the
Prologue of earlier editions with the first chapter, creating a new, single chapter titled "Induction". This forces the renumbering of all subsequent chapters, so Jin's version of the
407:
In his commentary, Jin frequently criticizes previous "unknowledgeable" readers, saying that they have missed many hidden meanings in the text. He sees it as his duty as a knowledgeable reader to reveal these meanings which the author has placed for him to find. In doing so, Jin also has the goal
145:
In 1661, Jin joined a number of literati in protesting the appointment of a corrupt official. The protesters first petitioned the government, and then staged a public rally. This was met with swift retaliation from local officials, and Jin was sentenced to death. This incident is sometimes called
412:
as " marvelous writing between heaven and earth". Other comments focus on
Yingying. As mentioned above, Jin feels that she is the central character of the play, and a woman of great beauty and character. Jin feels that the play shows a great degree of unity and tightness in its structure. This
342:
Jin's critical commentary frequently oscillates between sympathizing with the individual bandit-heroes and condemning their status as outlaws. On one hand, he criticizes the evil official system that has led many of the 108 heroes to become bandits. He also expresses admiration for several of the
319:
is most well known for the drastic alterations that he makes to the text. Earlier versions of the text are 100- or 120-chapter in length. Jin deletes a large portion of the story, from the second half of chapter 71 to the end of the novel. In order to bring the modified text to a conclusion, he
261:(讀法 lit. "way to read") which interpreted the novels using a vocabulary and critical standards which up to then had been limited to poetry and painting. This innovation raised the status of fiction for Chinese readers and made the writing of fiction into a respectable activity for educated people.
354:
argues that China during Jin's life was being torn apart by two bands of outlaws, so Jin did not believe that banditry should be glorified in fiction. This agrees well with Jin's philosophy. His
Buddhist and Taoist beliefs advocated natural development for every individual in society, while the
363:
tells a story of 108 men: yet each has his own nature, his own temperament, his own outward appearance, and his own voice". He also praises the work's vivid description of events, frequently remarking that the prose is "like a picture". Finally, Jin appreciates the technical virtuosity of the
213:
and Du Fu's poems, and novels or plays in vernacular
Chinese that had their origins in the streets and marketplace. The six works were chosen based on their literary merit, as opposed to their upstanding morals. For these reasons, Jin was considered an eccentric and made many enemies among the
445:, saying, "Sheng-t'an's ability to debate was invincible; his pen was most persuasive. During his time, he had the reputation of a genius. His death was also a case of extreme cruelty, which shook the whole country. After his death, his reputation became even greater".
440:
in 1919, scholars such as Hu Shih began to advocate the writing of novels in
Vernacular Chinese. As a result, Jin gained recognition as a pioneer in the field of Chinese popular literature. Hu Shih himself praised Jin in the preface to his commentary on the
393:. Each of parts I, III, IV, and V of the play is originally preceded by an "Induction". Jin merges these into the acts themselves. Part II of the play originally consists of five acts, which Jin condenses into four by merging the first and second acts.
355:
Confucian part of him respected the emperor and the state as the ultimate authority. The other possibility is that Jin's attempt to reimage the novel into a condemnation of the bandits was to save the novel after it had been banned by the
123:
in 1644. In that year and the one that followed, Jin became conspicuously more depressed and withdrawn, as well as more receptive to
Buddhism. The 20th century scholar Zhang Guoguang attributed this change to the fall of the short-lived
152:), and led to a stifling of political dissent for years after. Before his death, Jin supposedly joked, "Being beheaded is the most painful thing, but for some reason it's going to happen to me. Fancy that!" In a 1933 essay, noted writer
408:
of portraying the play as worthy of study due to its deep technical, artistic, psychological, and social dimensions. In content, much of Jin's critical comments focus on the skill of the author in conveying emotions. Jin praises
338:
verses. Finally, Jin makes subtle changes to the text for pure literary effect. These changes range from emphasizing the emotions of characters to changing story elements to make them more compelling.
400:, Jin frequently makes editorial changes to the play itself. These changes fall into two broad categories. Many changes are made in order to make the play's two young lovers, Zhang Sheng and
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opinion can be seen explicitly in his comments, as well as in the fact that he does not make structural alterations to the play to nearly the degree as in his version of
468:
symbolized the casting off of the outmoded traditional marriage system. Jin's critiques and editorial modifications of these works did not mirror the world view of
308:. The commentary begins with three prefaces, in which Jin discusses his reasons for undertaking the commentary, and the achievements of the work's putative author
264:
Jin believed that only the emperor and wise sages could truly "author" a work. He points out that even
Confucius took pains to avoid being named the author of the
92:
The year of Jin's birth is unclear, with some sources reporting 1610 and others 1608. The former estimate is based on the fact that Jin's son was 10 years old in
330:
titles receive new names. Secondly, Jin makes the text more compact by removing sections that he feels do not advance the story, and by excising the incidental
165:
282:
is not a work written by an individual named Wang Shifu alone; If I read it carefully, it will also be a work of my own creation, because all the words in
521:
Rushton, Peter (1986). "The Daoist's Mirror: Reflections on the Neo-Confucian Reader and the
Rhetoric of Jin Ping Mei (in Essays and Articles)".
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regime. Throughout his life, Jin's interest in
Buddhism affected his views, and he considered himself a mere agent of the forces of eternity.
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Later readers of Jin have advanced two main theories for his divergent positions of admiring the bandits and yet denouncing them as a group.
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614:
472:, however, and he began to be criticized. In more recent years, however, Chinese historians have adopted a more balanced view of Jin.
1123:
1022:
609:
820:
Huang, Martin W. (December 1994). "Author(ity) and Reader in Traditional Chinese Xiaoshuo Commentary (in Essays and Articles)".
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1103:
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Ge, Liangyan (December 2003). "Authoring "Authorial Intention:" Jin Shengtan as Creative Critic (in Essays and Articles)".
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scholars of his day. Jin edited, commented on, and added introductions and interlinear notes to the popular novels the
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After the establishment of the People's Republic of China in 1949, many common views on history changed. Under the
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meaning "the sage sighed". He passed only the lowest of the imperial examinations, and never held public office.
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admits that this quote may be apocryphal, but condemns it as "laughing away the cruelty of the human butcher".
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at the age of 11. This inclination toward Buddhist ideas became even more pronounced after the fall of the
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Jin's first major critical activity, completed in 1641, was a commentary on the popular Chinese novel the
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Church, Sally K. (1999). "Beyond the Words: Jin Shengtan's Perception of Hidden Meanings in Xixiang ji".
566:"Zhou Lianggong and Chidu Xinchao : Genre and Political Marginalisation in the Ming-Qing Transition"
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603:
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93:
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Theaters of Desire: Authors, Readers, and the Reproduction of Early Chinese Song Drama, 1300-2000
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men. On the other hand, he calls the band "malignant" and "evil". He especially criticizes
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play. This commentary follows a structure very similar to Jin's earlier commentary on the
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in 1641, and is generally accepted by scholars. He was born Jin Renrui in the town of
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Many of Jin's contemporaries admired him as a man possessing great literary talent.
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137:), but this appears to be a mistake due to confusion with a contemporary, Zhang Pu.
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755:"Contagion of Laughter: The Rise of the Humor Phenomenon in Shanghai in the 1930s"
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177:
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Chin Shen T'an (Jin Shengtan), "Preface to 'Sui Hu' ," (translated by "T.K.C.")
80:), was a Chinese editor, writer and critic, who has been called the champion of
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529:(1/2). Chinese Literature: Essays, Articles, Reviews, Vol. 8, No. 1/2: 63–81.
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happen to be the words that I want to say and that I want to write down".
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In 1656, Jin completed his second major commentary, written on the
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828:. Chinese Literature: Essays, Articles, Reviews, Vol. 16: 41–67.
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351:
708:. Chinese Literature: Essays, Articles, Reviews, Vol. 25: 1–24.
500:(1). Harvard Journal of Asiatic Studies, Vol. 51, No. 1: 55–87.
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Jin is sometimes said to have been known by the name Zhang Cai (
944:(1). Harvard Journal of Asiatic Studies, Vol. 59, No. 1: 5–77.
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41:
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became a tale of peasant resistance to the ruling class, and
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In his writings, Jin showed a great interest in the ideas of
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Frae ither tongues: Essays on Modern Translations into Scots
449:, another scholar of the era, also praised Jin's version of
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author, and names 15 separate techniques used by Shi Naian.
164:
He was known for formulating a list of what he called the "
492:
Wu, Yenna (1991). "Repetition in Xingshi yinyuan zhuan".
429:, a famous scholar, official, and historian of the late
209:. This list contained both highly classical works, like
247:
as commentator/editors. Mao's commentarial edition of
60:; 1610? – 7 August 1661), former name
794:
Jin Shengtan, Mao Zonggang, Zhang Zhupo 金圣叹·毛宗岗·张竹坡
752:
1114:
People executed by the Qing dynasty by decapitation
632:. New York: Twayne Publishers, Inc. pp. 23–25.
294:
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453:as the best edition in terms of literary value.
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822:Chinese Literature: Essays, Articles, Reviews
702:Chinese Literature: Essays, Articles, Reviews
523:Chinese Literature: Essays, Articles, Reviews
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1045:(7 March 1935): 234–235. Accessed through
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1028:United States Government Printing Office
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652:. Multilingual Matters. pp. 21–22.
615:United States Government Printing Office
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146:"Lamenting at the Temple of Confucius" (
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488:For examples of this discrepancy, see:
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1023:Eminent Chinese of the Ch'ing Period
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610:Eminent Chinese of the Ch'ing Period
679:. Palgrave Macmillan. p. 147.
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579:: Institute of Advanced Studies: 69
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564:Pattinson, David (December 2000).
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225:Romance of the Three Kingdoms
160:Literary theory and criticism
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1104:Executed Qing dynasty people
759:East Asian Cultures Critique
646:Findlay, Bill (March 2004).
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253:The Plum in the Golden Vase
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251:and Zhang's commentary on
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16:Chinese writer (died 1661)
997:Wang (1972), pp. 123–125.
988:Wang (1972), pp. 122–123.
979:Wang (1972), pp. 120–121.
771:10.1215/10679847-2006-027
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792:Wang, Rumei 王汝梅 (1999).
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267:Spring and Autumn Annals
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94:East Asian age reckoning
1109:Executed Chinese people
970:Wang (1972), p. 90-103.
917:Wang (1972), pp. 86–90.
908:Wang (1972), pp. 65–68.
899:Wang (1972), pp. 63–65.
890:Wang (1972), pp. 60–63.
881:Wang (1972), pp. 54–59.
863:Wang (1972), pp. 53–54.
1144:Qing dynasty Buddhists
1139:Ming dynasty Buddhists
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1129:Chinese male novelists
1084:Qing dynasty novelists
926:Wang (1972), p. 87-90.
743:Sieber (2003), p. 147.
734:Hummel (1943), p. 164.
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1089:Chinese Confucianists
1012:Hummel, Arthur W. Sr.
599:Hummel, Arthur W. Sr.
421:Reputation and legacy
315:Jin's version of the
1017:"Chin Jên-jui"
604:"Chin Jên-jui"
476:Notes and references
1099:Writers from Suzhou
1094:Ming dynasty people
872:Wang (1972), p. 54.
617:. pp. 164–166.
438:May Fourth Movement
166:Six Works of Genius
34:traditional Chinese
1074:Chinese literature
573:East Asian History
368:Commentary on the
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82:Vernacular Chinese
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659:978-1-85359-700-8
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387:Water Margin
386:
383:Yuan dynasty
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369:
361:Water Margin
360:
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327:Water Margin
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317:Water Margin
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305:Water Margin
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297:Water Margin
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241:Mao Zonggang
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230:Yuan dynasty
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220:Water Margin
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121:Ming dynasty
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84:literature.
71:
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47:Jīn Shèngtàn
45:
22:Jin Shengtan
21:
20:
18:
1069:1661 deaths
1064:1610 births
447:Liu Bannong
427:Qian Qianyi
290:Major works
245:Zhang Zhupo
181:, the poem
169: [
116:Lotus Sutra
1058:Categories
803:7531320290
436:After the
345:Song Jiang
310:Shi Nai'an
284:Xixiang Ji
280:Xixiang Ji
228:, and the
203:, and the
197:'s poems,
126:Li Zicheng
62:Jin Renrui
52:Wade–Giles
779:145300758
458:Communist
255:featured
216:Confucian
88:Biography
583:6 August
322:Lu Junyi
178:Zhuangzi
103:Analects
958:2652683
722:3594280
514:2719242
470:Marxism
352:Hu Shih
232:drama,
175:": the
72:Jin Kui
956:
842:495306
840:
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777:
720:
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656:
575:(20).
543:495115
541:
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243:, and
211:Li Sao
184:Li Sao
154:Lu Xun
98:Suzhou
54::
44::
42:pinyin
36::
28::
954:JSTOR
838:JSTOR
775:S2CID
718:JSTOR
569:(PDF)
539:JSTOR
510:JSTOR
195:Du Fu
190:Shiji
173:]
141:Death
798:ISBN
681:ISBN
654:ISBN
585:2018
334:and
258:dufa
222:and
946:doi
830:doi
767:doi
710:doi
531:doi
502:doi
332:Shi
149:哭廟案
67:金人瑞
38:金聖歎
30:金圣叹
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336:Ci
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187:,
171:zh
134:張采
77:金喟
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