This book offers a complete translation of four early plays of the Yang Family Generals. The story of the Yang Family Generals, particularly its female generals, was a perennial favorite on the Chinese stage in the 19th and 20th centuries. In detailing the role of this military family in the Song-Khitan wars of the late 10th and early 11th centuries, these four plays are all in the form of zaju, a type of play that originated in the 13th century. These plays are from the 15th and 16th centuries and allow a glimpse into earlier renditions of the Yang Family saga, which is a decidedly more male-centered tradition than that performed in the Qing dynasty.This volume offers the only complete English-language translation of these early plays. These plays allow access to the earliest phase in the development of the Yang Family saga. The plays provide information on the staging of large battle scenes on the stage and have considerable literary and cultural value.

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.

Playwriting in many forms flourished during the late Ming and early Qing dynasties. Shorter theatrical genres in particular offered playwrights opportunities for experimentation with both dramatic form and social critique. Despite their originality and wit, these short plays have been overshadowed by the lengthy masterpieces of the southern drama tradition. A Topsy-Turvy World presents English translations of shorter sixteenth-to-eighteenth-century plays, spotlighting a lesser-known side of Chinese drama. Satirical and often earthy, these mostly one-act plays depict deceit, dissembling, reversed gender roles, and sudden upending of fortunes. With zest and humor, they portray henpecked husbands, supercilious and lustful monks, all-too-human sage kings, disgruntled officials, and overreaching young scholars. These plays provide a glimpse of Chinese daily life and mores even as they question or subvert the boundaries of social, moral, and political order. Each translation is preceded by a short introduction that describes the play’s author, context, formal qualities, and textual history. A Topsy-Turvy World offers a new view of a significant period in the development of the Chinese theatrical tradition and provides insight into the role of drama as cultural critique.

Playwriting in many forms flourished during the late Ming and early Qing dynasties. Shorter theatrical genres in particular offered playwrights opportunities for experimentation with both dramatic form and social critique. Despite their originality and wit, these short plays have been overshadowed by the lengthy masterpieces of the southern drama tradition. A Topsy-Turvy World presents English translations of shorter sixteenth-to-eighteenth-century plays, spotlighting a lesser-known side of Chinese drama. Satirical and often earthy, these mostly one-act plays depict deceit, dissembling, reversed gender roles, and sudden upending of fortunes. With zest and humor, they portray henpecked husbands, supercilious and lustful monks, all-too-human sage kings, disgruntled officials, and overreaching young scholars. These plays provide a glimpse of Chinese daily life and mores even as they question or subvert the boundaries of social, moral, and political order. Each translation is preceded by a short introduction that describes the play’s author, context, formal qualities, and textual history. A Topsy-Turvy World offers a new view of a significant period in the development of the Chinese theatrical tradition and provides insight into the role of drama as cultural critique.

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

The Hsu-Tang Library presents authoritative and eminently readable translations of classical Chinese literature, in bilingual editions, ranging across three millennia and the entire Sinitic world. In the early years of the Mongol empire, the Quanzhen Daoist master Qiu Chuji (1148-1227, religious name Changchun) made an arduous three-year round-trip journey from north China to the Hindu Kush in 1221-23 in response to a summons by Chinggis Qan. The record of this journey compiled by Li Zhichang (1193-1255), one of Qiu's disciples, offers a detailed eyewitness account of travel across the Mongolian plateau as well as Central Asia in the immediate aftermath of Mongol conquest. It stands out from other thirteenth-century Chinese travel narratives in length, quality, and thoroughness of detail, endowing it with unique historical, geographical, cultural, and literary value. Ruth Dunnell, Stephen West, and Shao-yun Yang's new, complete, and annotated translation of the text for the first time renders all of Qiu Chuji's poems in the original Chinese. Omitted from older translations as insipid or irrelevant, Qiu's poetry opens a window into the Quanzhen practice of self-cultivation and its proselytizing mission and captures an educated Chinese observer's impressions of a vast, unfamiliar world of grasslands, deserts, and towering mountain ranges. This book includes an appendix with translations of related documents (such as the edicts of Chinggis Qan to Qiu), and concise yet detailed notes drawing upon a wealth of recent scholarship to guide both general and specialist readers. In addition to an introduction that situates the reader in the worlds inhabited by Qiu Chuji and his patron, the Mongol Qan, the translators have provided a digital StoryMap of Changchun's journey.

This is the first anthology of Yuan-dynasty "zaju" (miscellaneous comedies) to introduce the genre to English-speaking readers exclusively through translations of the plays' fourteenth-century editions. Almost all previous translations of Yuan-dynasty "zaju" are based on late-Ming regularized editions that were heavily adapted for performance at the Ming imperial court and then extensively revised in the seventeenth century for the reading pleasure of Jiangnan literati.

These early editions are based on scripts for the leading actor and provide the reader with the arias, prose dialogue, and cue lines. They depict a fascinating range of subject matter, from high political intrigue to commoner life and religious conversion. Crackling with raw emotion, violent imagery, and colorful language and wit, the "zaju" in this volume explore the consequences of loyalty and betrayal, ambition and enlightenment, and piety and drunkenness. The collection features seven of the twenty-six available untranslated "zaju" published in the fourteenth century, with a substantial introduction preceding each play and extensive annotations throughout. The editors also include translations of the Ming versions of four of the included plays and an introductory essay to the book that synthesizes recent Chinese and Japanese scholarship on the subject.

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.

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 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.

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.

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