Kitay_i_okrestnosti_Mifologia_folklor_literatura

raphers, probably for the simple reason that is was published in a popular journal; it is a remarkable achievement as both texts are rather badly printed and Schott was self-taught in Chinese.

In addition, Schott selected, besides the mythological introduction, the chapters of the novel (23—26) which contain the episode of Wu Da and his beautiful wife who became the paramour of the rich Ximen Qing, i.e. the story which formed the basis for another famous Chinese novel, namely the Jin Ping Mei. Also, Wu Da's brother and avenger, Wu Song, is one of the heroes of the novel and is paintedwith much individuality; next to youthful lightheartednessthere are a firm moral basis, courage and honesty.

Bibliography

Bazin, Antoine Pierre L.: Le siècle des Youên, ou tableau historique de lalittérature chinoise depuis l'avènement des empereurs mongols jusqu'à la restauration des Ming. Paris: Impr. nat. 1850, 108—198

Bazin, Antoine Pierre L.: Chine moderne ou Description historique, géographique et littéraire de ce vaste empire. 2e partie. Paris: F. Didot 1853 (L'univers pittoresque. Asie 10.), 500—519

There also: Histoire de Wou-song et de Kin-lien (Extrait du premier chapitre du Kin-p'hing-mei), 545—541

Bazin, Antoine Pierre L.: Extraits du Choui-Hou-Tschouen ou de l'histoire des rives du fleuve. Journal asiatique 57.1850,449—475; 58.1851,5—51

Excerpts from the prologue, from ch. 1,3 and 23.

Journal asiatique 57.1850,437—448: Table des matières (of the copy of the Bibliothèque nationale)

The adventures of a Chinese giant. Translated by H. S. from the Shui Hu chuen.

China review 1.1872/73, 13—25,71—86, 144—151,220—228 German translation by Maximilian Kern:

Wie Lo-Ta unter die Rebellen kam. Leipzig: Reclam n.d. (Reclams UniversalBibliothek4546.)

// dente di Buddha; racconto estratto dalla Storia delle Spiagge e letteralmente tradotto dal cinese da Alfonso Andreozzi.

Firenze: Giovanni Dotti 1883. 114 p.

Idem. Milano: Edoardo Sonzogno 1885. 94 p. (Biblioteca universale 142.)

Translation in part ofjuan 43—45.

Chinesische Novellen, aus dem Urtext übertragen von Hans Rudelsberger. Leipzig: Insel-Verlag 1914. 265, 307 p.

263—305: Die Geschichte von der untreuen Frau des Kuchenbäckers Wu-ta. (juan 23)

Panking: Les chevaliers chinois, romans de mœurs et d'aventures.

Peking: La Politique de Pékin 1922. 219 p.

According to Demiéville the best older translation, corresponds to juan 22—31.

Chinesische Novellen', aus dem Urtext übertragen von Hans Rudelsberger. Wien: Anton Schroll (1924). XIX,296 p.

22—36: Im Kloster zur ewigen Reinheit (juan 43—45)

All men are brothers. Translated from the Chinese by Pearl S. Buck. 1—2. New York: John Day (1933). XIII,1279 pp.

Translation of the Jin Shengtan version Rev.: AM 10.1935, 369—372 (F. Kuhn) Sinica 11.1936, 58—60 (F. Kuhn)

MS 2.1936/37, 165—166 (D. von den Steinen; refutes Kuhn)

Die Räuber vom Liang Schon Moor.

Leipzig: Insel-Verlag 1934. 839 p.

Aus dem Chinesischen übertragen von Franz Kuhn.

Also: Düsseldorf: Droste-Verlag n. d. 839 p.

Also: Frankfurt: Insel 1975. 886 p. (Insel-Taschenbuch 191).

Juan 3,4, 7—22, 35—57 — Jin Shengtan version.

The water margin. Written by Shih Nai-an. Translated by J. H. Jackson. 1—2. Shanghai: Commercial Press 1937. XXX,917 p.

Translation of the Jin Shengtan version.

Si Naj-an: Recnye zavody. 1—2. Perevod s kitajskogo. Moskva: Gos. izd. chudozestvennoj literatury 1955. 498, 622 p. Perevod A. P. Rogaceva pod redakciej V. S. Kolokolova.

Jin Shengtan version.

Die Räuber vom Liangschan. Aus dem Chinesischen übertragen und herausgegeben von Johanna Herzfeldt. Mit 96 Holzschnitten nach alten chinesischen Ausgaben. 1—2.

Leipzig: Insel-Verlag 1968. 687,654 S. Jin Shengtan-Version.

Outlaws of the marsh. Written by Shi Nai'an and Luo Guanzhong. Translated by Sidney Shapiro.

Peking: Foreign Languages Press 1980. IX,1605 p. Jin Shengtan version + further 30 juan.

Shi Nai-an, Luo Guan-zhong: Au bord de Veau (Shui-hu-zhuan). 1—2. Avantpropos par Étiemble. Texte traduit, présenté et annoté par Jacques Dars.

(Paris:) Gallimard (1982). CLXI,1233; XVII,1356 p. (Bibliothèque de la Pléiade.) Juan 1—83, 111—120, complete presentation of the «original version».

Outlaws of the marsh. Written by Shi Nai'an and Luo Guanzhong. Translated by Sidney Shapiro.

Sydney, London, Boston: Unwin Paperbacks (1986). 458 p. Abridged version for a wider audience.

Not a translation, but an original work of the author:

Albert Ehrenstein: Räuber und Soldaten. Roman frei nach dem Chinesischen. Berlin: Ullstein 1929. 293 p.

Conclusion

This is one example for rare or unique editions of Chinese books that survived in European collections. Another example was given with regard to the Lieguo zhizhuan some time ago.18 As to early translations, the present case shows that the publications of the 18th and 19th centuries have not yet been carefully perused, and we may still make interesting trouvailles. An example is even the famous Stanislas Julien19 who has not yet been the subject of thorough bibliographic re-

18 Cf. Walravens: «Die Geschichte der verschiedenen Reiche». Anmerkungen zur Rezeption eines chinesischen Romans in Deutschland. Mit 5 Abb. Aus dem Antiquariat 1999, A9—16; Walravens: Rare Ming editions in the Berlin State Library. The example of the Lieguo zhizhuan. Zhongguo shuxie

yuyinshua wenhua yichan he tushuguan gongzuo. Hangzhou: Zhejiang tushuguan 2006, 260—266.

19 The bibliography is finished in manuscript and will hopefully be published soon.

lies (Cf. Wang Cheng 1990: 55). A performance by Liu Jingting that took place in 1638 is described by Zhang Dai ïfj£5, a Ming scholar who in his later years, after the fall of the dynasty, wrote nostalgic recollections from his youth:

The pockmarked Liu from Nanjing had a dark complexion and in his face there were lots of scars and pimples. He was careless and indifferent about his looks, as if he were made from clay or wood. He was a master in storytelling. He told one session of storytelling a day. The price was a tael of silver. Even if you came ten days ahead to make an appointment and pay the fee, you could not be sure he would be free ... I once heard him perform in the plain style the tale of 'Wu Song fights the tiger on Jingyang Ridge', and it was very different from the version transmitted in books. His descriptions and illustrations went into the finest details, but he also knew where to cut the thread and make a pause, and he never became talkative. His voice rang out like a big bell. Whenever he came to an exciting point, he bellowed and raged so that the noise seemed to make the house fall down. At the point where Wu Song arrives in the inn and orders wine, there is nobody in the inn. At the sudden outcry of Wu Song, the empty jars and pots send out a ringing sound. Thus he would add colour to every interval, and he did his utmost in his care for detail. Only when his hosts were sitting quite attentively and cocking their ears to listen, would he begin to tell. But if he noticed some among the servants whispering to each other, or if the listeners were yawning or showing other signs of sleepiness, he would stop immediately, and nobody could force him to start again. Every evening when the tables had been wiped and the lamps snuffed, and the simple teabowls were passed around in all calm, he would slowly begin to tell...2

Zhang Dai supplies some observationsthat are truly interesting with a view to our understandingof the continuity of oral transmission in Yangzhou storytelling. According to Zhang Dai, Liu Jingting tells the story about 'Wu Song and the tiger' in a way very different from the current book editions of Shuihu zhuan

What is more, Zhang Dai not only remarks on the difference in a generalway, but by way of illustration he refers to a sub-episode of the performance he saw. It happens during the prelude to Wu Song's famous confrontation with the big beast: Just before ascending the mountain where the man-eating tiger is hunting, Wu Song upon arriving in the tavern at the foot of Jingyang Ridge drinkshimself mighty drunk in the strong local wine. What is remarkable, however, is the description of the tavern as empty when Wu Song arrives, a feature that Liu Jingting embroiders on by rendering the echo of the jars and vessels in the deserted room where Wu Song is shouting for the waiter:

2 Quoted from Zhang Dai 1986: 68. Translation by the author of this paper. Zhang Dai

(1599-—1684?) wrote his reminiscence 'Liu Jingting's storytelling' (Liu Jingting shuoshu

Ш$№РШШ) into his work Recollections ofTao 'an's Past Dreams (Tao'an mengyi ШШ9ШХ written after the fall of the Ming dynasty (1368—1644). Zhang Dai witnessed this performance in 1638, cf. Wang Cheng 1990: 55.

the sudden outcry of Wu Song, the empty jars and pots send out a ringing sound....

тмх • нями,

In the following we shall look closer at this small detail from the performance of the early master in order to discuss the question of oral versus written sources of present day Yangzhou storytelling.

The written versions of the Ming period

In the Ming novel of Shuihu zhuan, whether belonging to the simpler textseries (jianben ffi^) or to the fuller text-series (fanben Ш^£) (cf. Nienhauser,

Jr. (ed.) 1986: 713), we do not find this detail. This is the way the passage is rendered in chapter 22 of the so-called Jingben edition (М^Ф0> the oldest extant simpler text edition in 104 chapters, 1594:

Let us resume our story: After travelling for several days, Wu Song had reached the district of Yanggu. There he perceived in front of him a tavern, advertised by a sign which read: "Three bowls and you cannot cross the Ridge". Wu Song walked into the tavern and sat down. He then asked the host to quickly bring him some wine. Just look, how the innkeeper came with three bowls and twojin of cooked meat which he laid in front of Wu Song. He quickly filled three bowls with wine thatwere emptied right away. Wu Song then called out again: "Host! Why don't you come and pour the wine?"

In chapter 23 of the widely circulated fuller text edition of 1610, theso-called Rongyutang edition {ЩЩ'Ш^) in 100 chapters, thepassage is slightly longer:

After following the road for several days, Wu Song had reached the district of Yanggu, but was still some way off the provincial capital. By noon that day, when he was feeling hungry and thirsty,he perceived in front of him a tavern, advertised by a sign which read: "Three bowls and you cannot cross the Ridge."

3Ibid.

4Quoted from TheNoble Knight-errants of the WaterMargin, CapitalEdition with Additions and Corrections, Complete with Illustrations, and with Many Commentaries.{Jingben zengbu jiaozheng

quanxiangzhongyi shuihu zhuan pinglin Ш^ЩШШ^^Ш&Ш^КШШ §¥#), Chapter 22,"Chai

Jin Entertains Guests in HenghaiCounty,Wu Song Fights a Tigeron JingyangRidge" (Di ershier hui, Henghai jun Chai Jin Ни bin, Jiangyanggang Wu Song da hu, Ц ^ + И Щ , ШШШШШ*ШЖ

МШШЖ¥М1Й>)- From facsimile edition in Guben xiaoshuo congkan, Zhonghua shuju, Beijing 1991.

Wu Song walked in and sat down. He laid his cudgel down and asked the host to quickly bring him some wine. Just look, how the waiter came with three bowls, chopsticks and a dish, which he laid in front of Wu Song. He filled one bowl with wine. Wu Song picked it up and drained it in one gulp. "This wine's got a real kick!" he exclaimed.

In the two excerpts from different early editions of the novel, nothing is mentioned about the tavern being empty, and no other early editions of the novel mention this detail (Shuihu quartzhuan 1965: 343).

In Ming drama, the episode of Wu Songs' drinking in the tavern before his fight with the tiger does not include any information about the tavern being empty when Wu Song arrives to the place. Here is the corresponding passage from the chuanqi fil iff version The Noble Knight-errant (Yixiaji H$5fE) by the prolific dramatist Shen Jing %Ш (1553—1610):

After the long journey, I am now thirsty and hungry. Here is a tavern, advertised by a winebanner with the words "Three bowls and you cannot cross the ridge". What does that mean? Let me go in and sit for a little while. "Waiter?" (Enter Chou, answering) Wine! Wine! Wine! Here! Here! Here! Want to buy on credit? Leave! Leave! Leave! Please come inside and sit, good guest! (Sheng) I

wonder what you mean by "Three bowls and you cannot cross the ridge ".

fr»«». шшшш»о ш?±ж*ншчв(й. жвивк. ш . (ЙШ±)ттШо тш»

(Cf. Shen Jing 1970: 6)

This drama delivered both plot, poems and many prose passages to later drama versions, and even though some local dramas may give a considerably different plotline, description and dialogue, the feature of the empty tavern is not found.6

5 Quoted from The Noble Knight-errants of the Water Margin with Commentaryby Li Zhuowu (Li

Entertains Guests in Henghai County, Wu Song Fights a Tiger on Jingyang Ridge (Di ershisan hui,

HenghaijunChai Jin liu bin, Jingyanggang Wu Song da hu, ЦИ-КЕЕШ, ШШШ>ШШ^Ж

ШШШЖ^\^11Ж)- Facsimile edition in Ming Rongyutangke Shuihu zhuan, 100 hui, Shanghai renmin chubanshe, 1975.

6 A number of dramas, taking Wu Song Fights the Tiger as their theme, have been consulted, e.g. Kunqu ДЩ: 'Complete Scenes of Fighting the Tiger' (Da hu quan chuan guan ^ПлВ^ФЖ) Che Wang 59 han 4 ce; JingjuïHj|!|: 'Wu Song Fights the Tiger' (Wu Song da hu), Jingju congkan, Xin wenyi chubanshe, Shanghai 1954; Huaixi ШШ'. 'Wu Song fights the tiger' (Wu Song da hu), Fu Ssunien Library, X5—033.