"The greatest novel of physical love which China has produced." --Pearl S. Buck A saga of ruthless ambition, murder, and lust, The Golden Lotus (Jin Ping Mei) has been called the fifth Great Classical Novel in Chinese literature, joining the Four Great Classics: Journey to the West, The Water Margin, Romance of the Three Kingdoms, and Dream of the Red Chamber (also known as The Story of the Stone), and is recognized as one of the Four Masterworks of the Ming novel. Golden Lotus tells the story of Ximen Qing, a wealthy, unscrupulous merchant who takes the beautiful and ambitious widow Pan Jinlian as his fifth wife. Jinlian is not content to accept her position and schemes to dominate her husband and improve her standing in society by using sex as her weapon. As the story unfolds, Ximen Qing embarks on a series sexual conquests and Pan Jinlian exploits her husband's lust, ultimately causing the downfall of the entire family. The story's dramatic climax vividly portrays the lengths to which ambitious people will go to gain influence. It also lays bare the rivalries within wealthy families of privilege while chronicling their rise and fall. Iconic in China, Golden Lotus has been alternately banned and lauded for centuries, all the while still avidly read as a popular page-turner. This new Tuttle edition, now available in a single unabridged volume, includes a superb introduction by Robert Hegel of Washington University, who explains the book's importance as the first novel in the Chinese tradition attributable to a single author.

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.