Journey to the West / Xijou ji; & The Jin Ping Mei

1. Journey to the West/ Xijou ji; & The Jin Ping Mei

2. Outline • I. Novels from the Last Century of the Ming Dynasty • II. Journey to the West • III. The Jin Ping Mui

3. I. Novels from the Last Century of the Ming Dynasty • This period (1573-1620) saw a marked upsurge in the activities of commercial publishers. • Old novels were repeatedly reprinted, and many new novels were published. • The longer new novels often borrow their main plot lines from older works, but show much greater freedom in their treatment of the material as compared with the older novels, which had really been more in the nature of compilations.

4. I. Novels from the Last Century of the Ming明Dynasty • The most important development of the traditional novel are Journey to the West西遊記/ Xiyou ji and the Jin Ping Mei金瓶梅 (an untranslatable title, based on the names of characters). • The original novel of this period is characterized by the element of reversal. • In the long run everything changes to its own opposite. • E.g. unity is followed by division, prosperity by ruin, or vice versa.

5. Novels from the Last Century of the Ming Dynasty • The reversal of fortunes can usually be explained by the process of retribution which operates in all that exists. • Retribution is an old Buddhist concept: every act performed by a human being carries a certain moral valence and sooner or later is rewarded or punished accordingly. • Typical popular presentations emphasize the power of supernatural beings, such as the King of Hell, to dispense these rewards and punishments. • The punishment of one’s sin and the rewards for one’s virtues are supposed to follow in the next incarnation.

6. Novels from the Last Century of the Ming Dynasty • But during the period from 1550-1650, retribution is seen more as an automatic process, inherent in life and in the ethical quality of actions, requiring for its effects no intervention by gods or demons. • The emphasis shifts from retribution in some future existence to retribution in the course of one’s present life. • Concretely, this means that every good deed involving sacrifice of one’s self-interest will eventually be rewarded; self-seeking at others’ expense will be punished.

7. Novels from the Last Century of the Ming Dynasty • A person is never confronted with a choice between two evils or two positive values. • The choice is always a straightforward one between good and evil, and the person’s future well-being is determined by his own choice. • The retribution process applies even to the most apparently trivial actions, and the Chinese novelist of this period pays detailed attention to everyday life and the multitude of petty sins it involves. • Greed and lust are featured prominently.

8. Novels from the Last Century of the Ming Dynasty • The ethical aspects of individuals’ behavior are described in much more detail than the actual physical punishment or setting. • It is entirely clear what is done, but not necessary where or how. • The author presents the events not as unique happenings but as noteworthy, unexpected variations on general patterns. • The concrete descriptions are often followed by poems or couplets that give a sort of summing-up, often by means of a familiar proverb or saying.

9. Novels from the Last Century of the Ming Dynasty • The effect is to bring the initially unexpected back within the context of what is familiar and general. • At times, there is a certain interest in personal mental processes. • The authors are sometimes concerned with why some people yield to temptation while others cling to the good in the face of all difficulties. • But the action remain the thing, and the authors show nothing but contempt for those who are so weak, for whatever reason, as to make the wrong ethical choice.

10. Novels from the Last Century of the Ming Dynasty • Man is regarded as personally responsible for the course of his life, although certainly not in any modern existential sense. • The norms of good and evil are regarded as clearly drawn, and actions have inevitable consequences which emerge visibly in the course of the novel. • Usually the process of retribution runs through to its consequences within the space of a single lifetime.

11. Novels from the Last Century of the Ming Dynasty • Toward the end of this second period (early 17th century), there was a real bloom in the production of baihua白話(of modern Chinese language) novellas. • These novellas typically consist of 2 stories (a short opening story and a longer main story), both of which illustrate the workings of one and the same explicitly formulated moral law. • The opening story is usually one familiar to readers, while the main story deals with a more detailed, more recent example of the same moral.

12. Novels from the Last Century of the Ming Dynasty • Hardly a single novel or story from this period represents a product of its author’s imagination. • The author’s intention is not to write fiction but to present the truth so that his fellow citizens will awake from their benighted state of folly and better their ways. • The truth means the historical truth; what is narrated must really have happened, and the author often explicitly names his sources, claiming only to have tried to make their truths more generally available. • The author does not seek to add much personal comments of his own; such commentary he gives must be authentic and objective.

13. Novels from the Last Century of the Ming Dynasty • To achieve a successful combination of these two elements, the author assumes the persona of a professional storyteller, full of folksy innocence and homespun virtue, who punctuates the story with his commonplaces. • In comparison to the novels of the first period, those of the second show a much wider range of characters from a broader scale of social background. • They also give more attention to the problems of ordinary folk.

14. Novels from the Last Century of the Ming Dynasty • However, the authors’ strong concern with moral issues, together with their black-&-white characterization and mechanically simplistic ethics, has earned them a reputation for facile moralism. • Though the accusation is not just in all cases, it is true that the novels and novellas of this second period lack the concept of the tragic. • There is no place in them for fate or for the dilemma.

15. Novels from the Last Century of the Ming Dynasty • Though the presence of the storyteller lends a certain liveliness to these texts, its effect is limited by the authors’ determination to stick to true, or at any rate well-known stories. • Anything else, it seems, was rejected as being an insufficiently reliable basis for the didactic function of the written word.

16. II. Journey to the West西遊記/ The Xiyou ji • This book is supposed to have been written by Wu Cheng’en吳承恩(ca.1500-ca.1582), probably between 1570-1580. • The oldest survival edition dates from 1592. • Wu Cheng’en was a member of the literati who never passed higher-level examinations and held but modest office in his later years.

17. Journey to the West / The Xiyou ji • This novel takes its material from a very old popular story cycle. • Historical Truth: • During the years 629-645 (in earlyTong Dynasty), the Chinese monk Xuanzang玄莊(600-664) undertook a pilgrimage to India for the purpose of collecting sutras. Upon his return he was given the honorific name Sanzang三藏(Tripitaka), with the surname of Tong唐. • Tong Sanzang recorded his story in official records when he returned back to China.

18. Overview of the Novel • Influences of Chinese folk reglion, Chinese mythology, Daosim and Buddhism are present. • Adventure story-type, spiritual insight, allegory about religious journey to find self/enlightenment.

19. Overview of the Novel • 100 chapters: • Part I : ch.1-7– prelude • Part II : ch.8-12—biography and background • Part III : ch.13-99—adventures stories • Part IV : ch.100– return journey

20. Overview of the Novel • Monk Xuanzang’s journey made a tremendous impression on his contemporaries and soon became a fertile source of legends, in which Xuanzang’s journey was as a peril-fraught pilgrimage to the Western Paradise. • To aid him in overcoming the attendant dangers, such as repeated attacks by supernatural monsters, he was provided with supernatural helpers (his disciples) in the form of a horse, a monk, a pig, and a monkey. • Various early written versions of this story cycle have survived.

21. Overview of the Novel • Whereas earlier versions of the legend featured the wise monk Xuanzang as their hero and started their narrative with his departure from China for faraway lands, Wu Cheng’an’s 100 chapter novel has its main character the monkey, Sun Wukong孫悟空. • The novel starts out with the birth of Sun Wukong. • Chapter 1-7 describe his quest for eternity and magic powers and his rebellion against the reigning authorities in heaven, for which he is eventually imprisoned under a mountain. • Chapter 9-100 deal with Xuanzang’s birth and his pilgrimage.

22. The Story of Journey to the West / The Xiyou ji • Soon after Xuanzang’s departure from China, he loses his original retinue (human followers), instead he is accompanied by the best fighter, Sun Wukong,孫悟空who is allowed to undertake this task as penance for his rebellion. • Other traveling companions are the pig Zhu Bajie朱八戒and the Sha monk沙僧. • Xuanzang also gets a new white horse. • The monkey, the pig, the Sha monk and the horse are all gods in Heaven in the past but they commit certain mistakes. After the journey to the West and successfully get the sutras, they can return back to Heaven and become gods again.

23. The Story of Journey to the West / The Xiyou ji • Together, the new company goes through 81 perils of all sorts, most of them involving encounters with monsters seeking to eat Xuanzang. • 80 of the perils are met on the journey to The Western Paradise and one on the way home.

24. Story of Journey to the West / The Xiyou ji • Why do the monsters want to eat Xuanzang? For they would attain immortality if they could have the flesh of Xuanzang. • An extremely interesting book for those who retain a kid’s mind. • Monsters & adventure: devil tiger general, the cunning bony-woman, the seductive spider-girl, the angry cow-king, the troublesome woman-kingdom, the strong big-bird…

25. Character AnalysisI. Tang Sanzang唐三藏 • Other names: • Tripitaka, Tang Monk, Master, Jin Chan Zi (name of his previous life, was a Buddha’s disciple banished to reincarnation for disobedience to Buddha’s teaching) • Personality: • A kind and passionate monk • Very obedient to the rules of Buddhism • Strongly opposed to violence and killing • Never tempted by worldly desires • Gullible, very religious • Shows stupidity and human flaws throughout the journey

26. Character AnalysisI. Tang Sanzang唐三藏 • Abilities • Can memorize scriptures after one reading • Can mediate for long periods of time • Can recite Tight-Fillet Spell (Band-Tightening Curse) in order to control Monkey King • Flesh is said to hold immortality, thus all demons wish to eat him

27. Character AnalysisI. Tang Sanzang唐三藏 • He is tricked by various demons during the journey. • He mistakes Monkey King’s good intentions as savage killing (include driving the Monkey away 2 times) and listens to the Pig, Pa-chieh’s words. • Requires saving by Monkey King time after time. • At the journey’s end, he attains Buddha status and is named Golden Lohan (Zheng Guo).

28. Character AnalysisII. Monkey King, Sun Wukong孫悟空 • Other names: • Mei Houwang(Beautiful Monkey), Stone Monkey, Qitian Dasheng (he named himself as, Saint as Great as Heaven) • Abilities: • 72 transformations • Somersault • Fiery Golden Eyes • Magic Golden-clasped Rod • Various spells such as commanding wind, freezing humans, demons, and gods alike with one word

29. Character AnalysisII. Monkey King, Sun Wukong孫悟空 • Personality • Bravery and fearlessness • Confident • The main fighter throughout the journey • Loyal to the Master and steadfast in his promise to bring the group to India • Clever, witty, and always playful. Often plays jokes on Pa-Chieh and the devils • Strong sense of dignity, honor, and pride • Temperamental when these elements are threatened • Main flaw is overconfidence and arrogant • Selfishly wishes to be immortal and achieves his goal • Does demonstrates maturity and growth during the journey

30. Character AnalysisII. Monkey King, Sun Wukong孫悟空 • He was born from a rock on the summit of Flower Fruit Mountain. • Worried about death, so determined to find immoral beings and learn their ways. • After equipping with his abilities, he wants to get a post in Heaven. They make him to be the stable-keeper.

31. Character AnalysisII. Monkey King, Sun Wukong孫悟空 • He later finds out that it is an unimportant post so he fights with a number of gods. • Eventually, he loses the battle with the Buddha and is imprisoned for five centuries until he agrees to help Tripitaka throughout the journey. • At the journey’s end, he attains Buddha status and is named Fighting Buddha.

32. Character AnalysisIII. The Pig, Pa-Chieh朱八戒 • “Pa-chieh” (means to get rid of the 8 Buddhist sins) • He was the Altar Warrior God in Heaven, yet he flirted the Moon goddess. Thus, he is punished to become human again. • Abilities: • Nine-Toothed Rake (which he used to carry in Heaven) • 36 Transformations • Cloud Riding • Water Abilities – once in charge of the Heavenly River. Extremely useful because some perils involve water activities. (The Monkey cannot wield much power in water. )

33. Character AnalysisIII. The Pig, Pa-Chieh朱八戒 • Personality: • His characters represents human shortcomings • His lustfulness often puts the group in danger, as he is always blinded by the beauty of woman. • He is lazy. Falls asleep in crucial moments when other are depending on him. • Greedy and gluttonous • Provides comic relief for the story • A foil to the Monkey

34. Character AnalysisIV. Sha Monk沙僧 • Other names: Sha Wu Jung, Sha Seng • Abilities: • underwater battle • Cloud riding (flying) • Skilled alchemist • Carries small gourd which can enlarge, enabling the group to cross rivers

35. Character AnalysisIV. Sha Monk沙僧 • Personality • Dedicated disciple • Extremely loyal to Tong Sanzang/Tripitaka • Patient, logical and polite • The mediator between the Monkey-King and the Pig. • Background and personality is the least developed among the three disciples • At the end of journey, he is transformed into an arhat (luohan) by Buddha.

36. Character AnalysisV. Bodhisattva • Other names: • Guanyin • Goddess of Mercy • Chinese’s favorite divine being • Her name means “heeding the cry” and she hears and helps all those who cry out to her when in need. • During the journey, she constantly appears to convey important messages or help the group.

37. 81 Perils • The perils of Tong Sanzang唐三藏 starts from his previous life, to birth, through to the end of his journey of collecting sutras and back home. • 81 = 9x9, meaning endless perils. (9 meaning endless in Chinese) • However, the actual perils of the journey were less than 81

38. Examples of Perils • E.g. fifth and sixth perils actually belong to a single incidence • On the beginning of the journey, Tong Sanzang is accompanied by 2 human servants and 1 horse • They meet a Devil Tiger General and all except Sanzang are eaten, whereas Sanzang is saved by a god from Heaven.

39. Examples of Perils • Some perils are not life threatening but related to the taming of all his 4 disciples - the monkey (chapter 13, 7 & 8 perils), the pig (chapter 18 & 19, 12 perils), the Sha monk (Ch 22, 15 & 16 perils) and the horse (Ch 15, 9 perils). • The perils of Tong Sanzang唐三藏, thus, are also the perils of the whole team – Master三藏 and his disciples, the monkey, the pig, the Sha monk and the horse.

40. Examples of Perils • E.g. Following the expel of Sun Wukong (he is expelled by Sanzang who is ignorant and erroneously misled by the cunning bony-woman), Sanzang三藏 asks the pig Zhu Bajieto go to find food but Bajie fells into asleep. Sanzang三藏 then asks the Sha monk to find Bajie. Sanzang三藏 is left unprotected and he is abducted by a Yellow devil. • The Yellow devil turns Sanzang三藏 into a tiger as if he is a monster under disguise. • Finally, Bajie八戒 goes to seek help from Wukong悟空 who finally comes back to save the life of his Master Sanzang三藏 (Perils 21-23)

41. Examples of Perils • E.g. The group arrives the Women Kingdom. The queen wants Sanzang三藏 to be her wife and makes him King. Sanzang pretends to agree and go out the city to say farewell to his disciples. The Monkey King then quickly carries the Master away (perils 43). • E.g. There are two Monkey Kings and even Sanzang cannot distinguish which is the real one. They ask a number of gods in Heaven and nobody knows the truth, because both of them can perform all the abilities. Eventually, the Buddha recognizes the real Sun Wukong and the pretending one is killed by Sun (perils 57-58)

42. Examples of Perils • E.g. The whole team goes through the ‘Hot Firing Basin.’ • They can only get through the mountain with the help of a big magic banana leaves ‘fan’ from the Princess Iron Fan. • However, both the princess and her husband, the Cow-king do not agree. • They fight 3 fierce battles and ultimately with the help of heaven guards, the team finally wins the battle and successfully borrows the magic fan and goes through the mountain (perils 47-49).

43. Stories behind the Perils • All these perils are successive training of the team from the Master Sanzang三藏 to his disciples, Wukong悟空, Zhu Bajie八戒, the Sha monk沙僧 and the horse. • It is only through all these perils and struggles, mistrust and reconciliation, life-threatening disasters and temptation to quit that the whole team becomes ‘mature’ and finally successfully achieves the purpose of collecting sutras from India (West Paradise) back to China.

44. Stories behind the Perils • All characters were full of ‘human’ weakness –Kind but ignorantMaster Sanzang三藏, smart but rebellious Wukong悟空, lazy and lustful Zhu Bajie八戒, simple monk Sandy沙僧. • It was through these perils each individual became stronger and more determined, the whole team became more harmonious and unified, their bonding became stronger that they finally achieved their Mission.

45. Analysis of Journey to the West / The Xiyou ji • The characterization follows the same lines: Zhu Bajie (the pig) is an unintelligent and lusty glutton; Sun Wukong (the monkey) is ingenious but overconfident; Sandy (the monk) is diligent but conservative; Sanzang is kind-hearted but ignorant. • In the allegorical interpretation, the various dangers and monsters are the illusions that stand between man and Enlightenment, though it is usually difficult to specify which illusion is associated with which monster.

46. Analysis of Journey to the West / The Xiyou ji • The foibles of human nature, social ills in Chinese society, absurd features of the Chinese pantheon—all are subjected to scrutiny, giving rise to numerous comic passages.

47. III. The Jin Ping Mei金瓶梅 • The title of the Jin Ping Mei (Plum Bloosom in golden vase) is actually untranslatable; it is composed characters taken from the names of the three main female characters (Poon Jinling, Li Pingyee, Zhunmei潘金蓮,李瓶兒,春梅). • It is an anonymous novel in 100 chapters, thought to been written in the 1580s, but first printed in the last year of the Wanli period under the title Jin Ping MeiChiua.金瓶梅詞話

48. III. The Jin Ping Mei • The idea for the novel is taken from the story of Wu Song武松in the Shuihu zhuan (Water Margin). • The Jin Ping Mei described in great detail the life of the apothecary Ximen Qing西門慶and his household in a provincial town in Shandong山東. • The novel is supposedly set in the early 12th century (Song Dynasty) but the social setting as described is clearly that of the 16th century (Ming Dynasty).

49. The Story of the Jin Ping Mei • The story is about Ximen Qing’s economic and political machinations, his relationships with his various wives (eventually six), the women’s mutual relationships, and Ximen Qing’s family (and sexual) affairs and shady business dealings. • Ximen Qing’s ethical misconduct results in his early and horrible death, after which his household is broken up.

50. The Story of the Jin Ping Mei • The subsequent life of the other characters is keeping with their former behavior: earlier good and evil meet with later reward and punishment. • In other words, a prominent theme is the working of retribution within a single lifetime.