The saga of the Three Kingdoms-which recounts the dramatic story of the civil wars (ca. 180--220 CE) that divided the old Han Empire into the Shu, Wei, and Wu states-remains as popular as ever in China, having served as the basis of not only traditional operas and ballads, but also, in more recent years, of movies, television dramas, and video games. Translated into English for the first time here, the Sanguozhi pinghua (thirteenth century CE) provides a complete and fast-paced narrative account of the events of the period, from the beginning of the civil wars to the demise of the Three Kingdoms and the short-lived reunification of the realm by the Jin dynasty. Shorter, clearer, and more accessible to Western audiences than Luo Guanzhong's later, greatly expanded Romance ( Sanguo yanyi )-and beautifully rendered in this edition by two modern-day masters of the art of Chinese literary translation-the Records of the Three Kingdoms in Plain Language provides an ideal introduction to one of the foundational Chinese epic traditions. Tables of major Chinese dynasties and reigns, a guide to understanding formal Chinese naming conventions, a glossary of Chinese names and terms, and reproductions of some woodcuts from the original edition of the text are included.

The Pitfalls of Piety for Married Women shows how problematic the practice of Buddhist piety could be in late imperial China. Two thematically related "precious scrolls" (baojuan) from the Ming dynasty, The Precious Scroll of the Red Gauze and The Precious Scroll of the Handkerchief, illustrate the difficulties faced by women whose religious devotion conflicted with the demands of marriage and motherhood. These two previously untranslated texts tell the stories of married women whose piety causes them to be separated from their husbands and children. While these women labor far away, their children are cruelly abused by murderous stepmothers. Following many adventures, the families are reunited by divine intervention and the evil stepmothers get their just deserts. While the texts in The Pitfalls of Piety for Married Women praise Buddhist piety, they also reveal many problems concerning married women and mothers. Wilt L. Idema's translations are preceded by an introduction that places these scrolls in the context of Ming dynasty performative literature, vernacular literature, and popular religion. Set in a milieu of rich merchants, the texts provide a unique window to family life of the time, enriching our understanding of gender during the Ming dynasty. These popular baojuan offer rare insights into lay religion and family dynamics of the Ming dynasty, and their original theme and form enrich our understanding of the various methods of storytelling that were practiced at the time.

The late-imperial legend of Liang Shanbo and Zhu Yingtai, the Butterfly Lovers--a story as central to Chinese culture as Shakespeare's Romeo and Juliet is to Western culture--also relates a tale of two lovers help apart by social strictures. To audiences of the many Chinese ballads, plays, and films based on the story, the tragic ending offers proof that equality and happiness can only be achieved in a China freed from the traditional family system. This volume offers translations of the earliest versions of the popular ballad along with later literary reinventions of the tale; a variety of related documents reveal the historical and cultural origins of the legend. In his Introduction, Wilt L. Idema provides essential contextual information and discusses how the story of the Butterfly Lovers fits into modern Chinese concepts of gender roles and sexual freedom.

The late-imperial legend of Liang Shanbo and Zhu Yingtai, the Butterfly Lovers--a story as central to Chinese culture as Shakespeare's Romeo and Juliet is to Western culture--also relates a tale of two lovers help apart by social strictures. To audiences of the many Chinese ballads, plays, and films based on the story, the tragic ending offers proof that equality and happiness can only be achieved in a China freed from the traditional family system. This volume offers translations of the earliest versions of the popular ballad along with later literary reinventions of the tale; a variety of related documents reveal the historical and cultural origins of the legend. In his Introduction, Wilt L. Idema provides essential contextual information and discusses how the story of the Butterfly Lovers fits into modern Chinese concepts of gender roles and sexual freedom.

No cycle of historical legends has enjoyed greater or more enduring popularity in China than that of the Three Kingdoms, which recounts the dramatic story of the civil wars (c. AD 180-220) that divided the old Han empire into the Shu-Han, Wei, and Wu states, and the eventual reunification of the realm under the Western Jin in AD 280.

The legend of Mulan--the daughter who disguises herself as a man, dons her father's armor, and heads off to war in his place--remains one of the most popular Chinese folktales despite (or because of) its lack of supernatural demonstrations or interventions. This volume offers lively translations of the earliest recorded version of the legend and several later iterations of the tale (including the screenplay of the hugely successful 1939 Chinese film Mulan Joins the Army ), illustrating the many ways that reinterpretations of this basic story reflect centuries of changes in Chinese cultural, political, and sexual attitudes. An Introduction traces the evolution of the Mulan legend and its significance in the history of Chinese popular culture. Annotation explaining terms and references unfamiliar to Western readers, a glossary, and a comprehensive bibliography further enhance the value of this volume for both scholars and students.

In literatures worldwide, animal fables have been analyzed for their revealingly anthropomorphic views, but until now little attention has been given to the animal tales of China. The complex, competitive relationship between rodents (vilified as thieves of grain) and the felines with whom they are perennially at war is explored in this presentation of Chinese tales about cats and mice. Master translator Wilt Idema situates them in an overview of animal tales in world literature, in the Chinese literary tradition as a whole, and within Chinese imaginative depictions of animals. The tales demonstrate the animals' symbolism and their unusually prominent-and verbal-role in the stories. These readings depict cats and mice in conflict, in marital bonds, and in litigation-most centrally in a legal case of a mouse against a cat in the underworld court of King Yama. Many of the stories adopt the perspective of the mice as animals merely trying to survive, while also recognizing that cats are natural hunters. This entertaining volume will appeal to readers interested in Chinese literature and society, comparative literature, and posthumanist consideration of human-animal relations.

No cycle of historical legends has enjoyed greater or more enduring popularity in China than that of the Three Kingdoms, which recounts the dramatic story of the civil wars (c. AD 180-220) that divided the old Han empire into the Shu-Han, Wei, and Wu states, and the eventual reunification of the realm under the Western Jin in AD 280.

This magnificent collection of eleven early [1250--1450] Chinese plays will give readers a vivid sense of life and a clear understanding of dramatic literature during an extraordinarily eventful period in Chinese history. Not only are the eleven plays in this volume expertly translated into lively, idiomatic English; they are each provided with illuminating, scholarly introductions that are yet fully intelligible to the educated lay reader. A marvelous volume.--Victor Mair, University of Pennsylvania

Heroines of Jiangyong is the first English translation of a set of verse narratives recorded in the unique women's script (nushu) of rural Jiangyong County, Hunan, in southern China. This selection of Chinese folk literature provides a rare window into the everyday life of rural daughters, wives, and mothers, as they transmit valuable lessons about surviving in a patriarchal society that is often harsh and unforgiving. Featuring strong female protagonists, the ballads deal with moral issues, dangers women face outside the family home, and the difficulties of childbirth. The women's script, which represents units of sound in the local Chinese dialect, was discovered by scholars in the late twentieth century, creating a stir in China and abroad. This volume offers a full translation of all the longer ballads in women's script, providing an exceptional opportunity to observe which specific narratives appealed to rural women in traditional China. The translations are preceded by a brief introduction to women's script and its scholarship, and a discussion of each of the twelve selections.

These translations of "The Precious Scroll of the Three Lives of Mulian" and "Woman Huang Recites the Diamond Sutra" are late-nineteenth-century examples of baojuan (literally, "precious scrolls"), a Chinese folk genre featuring alternating verse and prose that was used by monks to illustrate religious precepts for lay listeners. They represent only two of numerous versions of these legends, composed in a variety of genres, which were once popular all over China. While the seeds of the Mulian legend, in which a man rescues his mother from hell, can be found in Indian Buddhist texts, the story of Woman Huang, who seeks her own salvation, appears to be indigenous to China.

With their graphic portrayals of the underworld; dramatization of Buddhist beliefs about death, salvation, and rebirth; and frank discussion of women's responsibility for sin, these texts provide detailed and powerful descriptions of popular religious beliefs and practices in late imperial China, especially as they relate to women.

Beata Grant is professor of Chinese language and literature at Washington University, and author of "Eminent Nuns: Woman Chan Masters of Seventeenth-Century China" and coauthor of "The Red Brush: Writing Women of Imperial China." Wilt L. Idema is professor of Chinese literature at Harvard University. His recent publications include "Meng Jiangnu Brings Down the Great Wall: Ten Versions of a Chinese Legend" and "Heroines of Jiangyong: Chinese Narrative Ballads in Women's Script."

Of the many ballads, tales, and plays extolling filial piety ( xiao )--the foundational virtue of imperial China--none was more popular in that era than the legend of Dong Yong and his heavenly helpmate, Weaving Maiden. Continually revised and embellished over a millennium, the tale's popularity remains, finding new expression in Chinese film and opera in the twentieth century. The five versions of the legend presented here, alongside a selection of related texts, illustrate changing perceptions of xiao from the tenth century through the first part of the twentieth in a variety of genres. An appendix traces the development of the related legend of Weaving Maiden and Buffalo Boy from myth to folktale. Wilt L. Idema's Introduction traces the evolution of the central legend and its significance in the history of Chinese popular culture. Annotations explaining terms and references that may be unfamiliar to Western readers, a glossary, and a comprehensive bibliography further enhance the value of this book for both scholars and students.

Of the many ballads, tales, and plays extolling filial piety ( xiao )--the foundational virtue of imperial China--none was more popular in that era than the legend of Dong Yong and his heavenly helpmate, Weaving Maiden. Continually revised and embellished over a millennium, the tale's popularity remains, finding new expression in Chinese film and opera in the twentieth century. The five versions of the legend presented here, alongside a selection of related texts, illustrate changing perceptions of xiao from the tenth century through the first part of the twentieth in a variety of genres. An appendix traces the development of the related legend of Weaving Maiden and Buffalo Boy from myth to folktale. Wilt L. Idema's Introduction traces the evolution of the central legend and its significance in the history of Chinese popular culture. Annotations explaining terms and references that may be unfamiliar to Western readers, a glossary, and a comprehensive bibliography further enhance the value of this book for both scholars and students.

The collapse of the Ming dynasty and the Manchu conquest of China were traumatic experiences for Chinese intellectuals, not only because of the many decades of destructive warfare but also because of the adjustments necessary to life under a foreign regime. History became a defining subject in their writings, and it went on shaping literary production in succeeding generations as the Ming continued to be remembered, re-imagined, and refigured on new terms.

The twelve chapters in this volume and the introductory essays on early Qing poetry, prose, and drama understand the writings of this era wholly or in part as attempts to recover from or transcend the trauma of the transition years. By the end of the seventeenth century, the sense of trauma had diminished, and a mood of accommodation had taken hold. Varying shades of lament or reconciliation, critical or nostalgic retrospection on the Ming, and rejection or acceptance of the new order distinguish the many voices in these writings.

One of the most exciting recent developments in the study of Chinese literature has been the rediscovery of an extremely rich and diverse tradition of women's writing of the imperial period (221 B.C.E.-1911 C.E.). Many of these writings are of considerable literary quality. Others provide us with moving insights into the lives and feelings of a surprisingly diverse group of women living in Confucian China, a society that perhaps more than any other is known for its patriarchal tradition.

Because of the burgeoning interest in the study of both premodern and modern women in China, several scholarly books, articles, and even anthologies of women's poetry have been published in the last two decades. This anthology differs from previous works by offering a glimpse of women's writings not only in poetry but in other genres as well, including essays and letters, drama, religious writing, and narrative fiction.

The authors have presented the selections within their respective biographical and historical contexts. This comprehensive approach helps to clarify traditional Chinese ideas on the nature and function of literature as well as on the role of the woman writer.

The legend of Mulan--the daughter who disguises herself as a man, dons her father's armor, and heads off to war in his place--remains one of the most popular Chinese folktales despite (or because of) its lack of supernatural demonstrations or interventions. This volume offers lively translations of the earliest recorded version of the legend and several later iterations of the tale (including the screenplay of the hugely successful 1939 Chinese film Mulan Joins the Army ), illustrating the many ways that reinterpretations of this basic story reflect centuries of changes in Chinese cultural, political, and sexual attitudes. An Introduction traces the evolution of the Mulan legend and its significance in the history of Chinese popular culture. Annotation explaining terms and references unfamiliar to Western readers, a glossary, and a comprehensive bibliography further enhance the value of this volume for both scholars and students.

China's most important love comedy, Wang Shifu's "Xixiangji," or "The Story of the Western Wing," is a rollicking play that chronicles the adventures of the star-crossed lovers Oriole and Student Zhang. Since its appearance in the thirteenth century, it has enjoyed unparalleled popularity. The play has given rise to innumerable sequels, parodies, and rewritings; it has influenced countless later plays, short stories, and novels and has played a crucial role in the development of drama criticism. This translation of the full and complete text of the earliest extant version is available in paperback for the first time. The editors' introduction will inform students of Chinese cultural and literary traditions.

In literatures worldwide, animal fables have been analyzed for their revealingly anthropomorphic views, but until now little attention has been given to the animal tales of China. The complex, competitive relationship between rodents (vilified as thieves of grain) and the felines with whom they are perennially at war is explored in this presentation of Chinese tales about cats and mice. Master translator Wilt Idema situates them in an overview of animal tales in world literature, in the Chinese literary tradition as a whole, and within Chinese imaginative depictions of animals. The tales demonstrate the animals' symbolism and their unusually prominent-and verbal-role in the stories. These readings depict cats and mice in conflict, in marital bonds, and in litigation-most centrally in a legal case of a mouse against a cat in the underworld court of King Yama. Many of the stories adopt the perspective of the mice as animals merely trying to survive, while also recognizing that cats are natural hunters. This entertaining volume will appeal to readers interested in Chinese literature and society, comparative literature, and posthumanist consideration of human-animal relations.

The saga of the Three Kingdoms-which recounts the dramatic story of the civil wars (ca. 180--220 CE) that divided the old Han Empire into the Shu, Wei, and Wu states-remains as popular as ever in China, having served as the basis of not only traditional operas and ballads, but also, in more recent years, of movies, television dramas, and video games. Translated into English for the first time here, the Sanguozhi pinghua (thirteenth century CE) provides a complete and fast-paced narrative account of the events of the period, from the beginning of the civil wars to the demise of the Three Kingdoms and the short-lived reunification of the realm by the Jin dynasty. Shorter, clearer, and more accessible to Western audiences than Luo Guanzhong's later, greatly expanded Romance ( Sanguo yanyi )-and beautifully rendered in this edition by two modern-day masters of the art of Chinese literary translation-the Records of the Three Kingdoms in Plain Language provides an ideal introduction to one of the foundational Chinese epic traditions. Tables of major Chinese dynasties and reigns, a guide to understanding formal Chinese naming conventions, a glossary of Chinese names and terms, and reproductions of some woodcuts from the original edition of the text are included.

These translations of "The Precious Scroll of the Three Lives of Mulian" and "Woman Huang Recites the Diamond Sutra" are late-nineteenth-century examples of baojuan (literally, "precious scrolls"), a Chinese folk genre featuring alternating verse and prose that was used by monks to illustrate religious precepts for lay listeners. They represent only two of numerous versions of these legends, composed in a variety of genres, which were once popular all over China. While the seeds of the Mulian legend, in which a man rescues his mother from hell, can be found in Indian Buddhist texts, the story of Woman Huang, who seeks her own salvation, appears to be indigenous to China.

With their graphic portrayals of the underworld; dramatization of Buddhist beliefs about death, salvation, and rebirth; and frank discussion of women's responsibility for sin, these texts provide detailed and powerful descriptions of popular religious beliefs and practices in late imperial China, especially as they relate to women.

Beata Grant is professor of Chinese language and literature at Washington University, and author of "Eminent Nuns: Woman Chan Masters of Seventeenth-Century China" and coauthor of "The Red Brush: Writing Women of Imperial China." Wilt L. Idema is professor of Chinese literature at Harvard University. His recent publications include "Meng Jiangnu Brings Down the Great Wall: Ten Versions of a Chinese Legend" and "Heroines of Jiangyong: Chinese Narrative Ballads in Women's Script."

Meng Jiangnü Brings Down the Great Wall brings together ten versions of a popular Chinese legend that has intrigued readers and listeners for hundreds of years. Elements of the story date back to the early centuries B.C.E. and are an intrinsic part of Chinese literary history. Major themes and subtle nuances of the legend are illuminated here by Wilt L. Idema's new translations and pairings. In this classic story, a young woman named Meng Jiang makes a long, solitary journey to deliver winter clothes to her husband, a drafted laborer on the grandiose Great Wall construction project of the notorious First Emperor of the Qin dynasty (BCE 221-208). But her travels end in tragedy when, upon arrival, she learns that her husband has died under the harsh working conditions and been entombed in the wall. Her tears of grief cause the wall to collapse and expose his bones, which she collects for proper burial. In some versions, she tricks the lecherous emperor, who wants to marry her, into providing a stately funeral for her husband and then takes her own life. The versions presented here are ballads and chantefables (alternating chanted verse and recited prose), five from urban printed texts from the late Imperial and early Republican periods, and five from oral performances and partially reconstructed texts collected in rural areas in recent decades. They represent a wide range of genres, regional styles, dates, and content. From one version to another, different elements of the story--the circumstances of Meng Jiangnu's marriage, her relationship with her parents-in-law, the journey to the wall, her grief, her defiance of the emperor--are elaborated upon, downplayed, or left out altogether depending on the particular moral lessons that tale authors wished to impart. Idema brings together his considerable translation skills and broad knowledge of Chinese literature to present an assortment of tales and insightful commentary that will be a gold mine of information for scholars in a number of disciplines. Haiyan Lee's essay discusses the appeal of the Meng Jiangnü story to twentieth-century literary reformers, and the interpretations they imposed on the material they collected.

This anthology presents substantial selections from the work of twenty Manchu women poets of the eighteenth and nineteenth centuries. The poems, inspired by their daily life and reflections, provide fascinating insights into the experiences and emotions of these women, most of whom belonged to the elite families of Manchu society. Each selection is accompanied by biographical material that illuminates the life stories of the poets. The volume's introduction describes the printing history of the collections from which these poems are drawn, the authors' practice of poetry writing, ethnic and gender issues, and comparisons with the poetry of women in South China and of male authors of the Qing dynasty (1644-1911).