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Notes Sources included in the Bibliography are listed here in abbreviated form. Introduction 1. Lu Shulun, “Feng Menglong,” in his Feng Menglong sanlun, 7. 2. See Pi-ching Hsu, “Celebrating the Emotional Self,” 41; Lu Shulun, Feng Menglong yanjiu, 17–18. 3. See the Qing vernacular story “Jue xinkeng qiangui cheng caizhu,” Zhao shi bei, in Zhongguo gudai zhenxi ben xiaoshuo (Shenyang: Chunfeng Wenyi, 1994), 9:283. 4. Guazhir, juan 5:21a, in Wei Tongxian, ed., Feng Menglong quanji (Shanghai: Shanghai Guji, 1993), 42:145. 5. Hanan, The Chinese Vernacular Story, 80–81. 6. Lu Shulun, Feng Menglong yanjiu, 14. 7. Pi-ching Hsu, “Celebrating the Emotional Self,” 57. 8. Hanan, The Chinese Vernacular Story, 95. 9. Lu Shulun, “Feng Menglong,” 76. 10. Hanan, The Chinese Vernacular Story, 89. 11. Guazhir, juan 4:2b. 12. See Feng Mengxiong, “Fengshi Linzhi xiaoxu,” in Feng Menglong, Linjing zhiyue, 1b, in Wei Tongxian, ed., Feng Menglong quanji, 1:2. 13. Lu Shulun, “Feng Menglong,” 85. 14. On the two titles of Chunqiu hengku, see Wei Tongxian, “Chunqiu hengku yingyin shuoming,” in Wei Tongxian, ed., Feng Menglong quanji, 3:1. 15. Pi-ching Hsu, “Celebrating the Emotional Self,” 46. 16. Hanan, The Chinese Vernacular Story, 82–83. 17. Ibid., 98–99. 753 18. Pi-ching Hsu, “Celebrating the Emotional Self,” 48. 19. Quoted in Lu Shulun, “Feng Menglong,” 92. 20. See Xu Shuofang, “Feng Menglong nianpu,” in Xu Shuofang ji, 2:433. 21. Hanan, The Chinese Vernacular Story, 86. 22. The facsimile edition of Feng Menglong quanji (Complete works of Feng Menglong), published by Shanghai Guji Chubanshe in 1993, contains forty-three volumes that, when stacked together, are more than six feet tall. 23. Hanan, The Chinese Vernacular Story, 80–81. 24. Hanan, The Chinese Vernacular Story, 81. 25. Rawski, “Economic and Social Foundations of Late Imperial Culture,” 3. 26. Hegel, The Novel in SeventeenthCentury China, 11. 27. Ibid. 28. Rawski, “Economic and Social Foundations of Late Imperial Culture,” 9. 29. Hegel, The Novel in SeventeenthCentury China, 14–15. 30. Ichisada Miyazaki, China’s Examination Hell, 121. 31. Miyazaki, China’s Examination Hell, 118. 32. Hegel, The Novel in SeventeenthCentury China, 15. 33. The moralistic and didactic tone of the three Sanyan titles (Illustrious Words to Instruct the World, Comprehensive Words to Warn the World, and Constant Words to Awaken the World ) can probably also be understood in the same light. 34. Y. W. Ma, “Feng Meng-lung,” in Nienhauser, ed., The Indiana Companion to Traditional Chinese Literature, 381. 35. Hanan, The Chinese Vernacular Story, 104; and The Chinese Short Story, 76–86. 36. In his “Preface to Art Song Prosody” (Qulü xu), Feng complains that “the most abused literary genres today are classical poetry and prose.” In his preface to Hill Songs, he also says that “although there is an abundance of false poetry and prose, there are no false folk songs.” See Guo Shaoyu, Zhongguo lidai wenlun xuan, 3:194, 231. 37. Birch, “Feng Meng-lung and the Ku Chin Hsiao Shuo,” 82. 38. See Margaret L. John, “Parallelism in the Vernacular Short Story: Reading ‘Yang Jiao’ai sheming quanjia’ and ‘Wu Bao’an qijia shuyou’ as Pair Stories” (unpublished paper, University of Michigan, 1992), 1, 2, 13, 15. 39. Wong, “Morality as Entertainment ,” 59. 40. Jaroslav Pr° u1ek, “The Beginnings of Popular Chinese Literature; Urban Centers— the Cradle of Popular Fiction,” in his Chinese History and Literature, 413. 41. See Shuhui Yang, Appropriation and Representation: Feng Menglong and the Chinese Vernacular Story, chap. 3. 42. Hanan, “The Nature of Ling Mengch ’u’s Fiction,” 87. 43. See Hanan, “The Early Chinese Short Story,” 304–6; and Rolston, Traditional Chinese Fiction and Fiction Commentary, 231. 44. Rolston, Traditional Chinese Fiction and Fiction Commentary, 231. 45. Hanan, “The Nature of Ling Mengch ’u’s Fiction,” 87. 46. Rolston, Traditional Chinese Fiction and Fiction Commentary, 232. Rolston also says that the simulated storyteller can be seen “as a functional attempt to deal with the absence of the ‘author’ in early vernacular fiction.” 47. The word huaben was adopted as the regular term for the traditional Chinese vernacular short story only in this century. On its early usage as simply “story,” rather than “prompt-book,” see Wivell, “The Term ‘Huapen ,’” 295–306. The “prompt-book” theory has been criticized from another angle: because professional storytellers were more likely to have relied on abstracts or notes in the classical language, the earliest extant huaben texts were perhaps also meant for reading, rather than reciting, as were...

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