Table of Contents

The Dragon King's Daughter: Ten Tang Dynasty Stories

FOREWORD

THE WHITE MONKEY

REN THE FOX FAIRY

THE DRAGON KING'S DAUGHTER

PRINCE HUO'S DAUGHTER

GOVERNOR OF THE SOUTHERN TRIBUTARY STATE

STORY OF A SINGSONG GIRL

WUSHUANG THE PEERLESS

THE SPENDTHRIFT AND THE ALCHEMIST

THE KUNLUN SLAVE 1

THE MAN WITH THE CURLY BEARD

The Dragon King's Daughter: Ten Tang Dynasty Stories

Translated By Yang Xianyi And Gladys Yang

This page copyright © 2006 Silk Pagoda.

FOREWORD

I

The Tang Dynasty (618-907) was a golden age of poetry and short stories. In the brief span of two hundred and ninety years many outstanding poets and story writers appeared, including men like Li Bai, Du Fu, Bai Juyi, Li Gongzuo and Bai Xingjian, who have left works which will live for ever. Over fifty thousand poems and over four hundred stories of the Tang Dynasty are extant today, reflecting glory on China's ancient civilization and making no mean contribution to world literature.

The short story can be found in embryo form in China during the Six Dynasties (222-589), when a number of interesting anecdotes and tales appeared. But whether describing spirits or famous men, most of these stories were merely rough sketches or simple anecdotes. Hu Yingling (1551-1602), a Ming Dynasty critic, has written:

During the Six Dynasties we find many weird tales, most of them not deliberately invented but based on hearsay and misconceptions. Only in the Tang Dynasty did men start writing such tales for themselves.

The Tang Dynasty, then, was the time when Chinese scholars began to write highly imaginative stories in polished language and with a wealth of detail, giving a truthful and moving picture of the people and society of the time. Poetry and the short story were the two most highly developed forms of literature of the period. As Hong Mai (1123-1202) of the Song Dynasty wrote:

We must study the Tang stories. Even small incidents are exquisitely moving, and often — without realizing it themselves — the authors are inspired. These stories and the Tang poetry are the wonder of their age.

To understand why the short story developed so rapidly during the Tang Dynasty, we must look at the background of the time.

The Tang Dynasty was established as a result of the victory of the agrarian revolt at the end of the Sui Dynasty (581-618). Li Yuan the first Tang emperor and his son Li Shimin took advantage of the agrarian revolt to occupy Chang'an and seize the fruits of the peasants' victory. At the beginning of the seventh century they completed the unification of the country and set up the Tang empire, putting an end to the four hundred years of partition, foreign invasion and chaos which had followed the fall of the Han Dynasty in 220 A.D. Li Shimin was one of the most outstanding emperors of medieval China. He ended the threat of foreign invasion, developed China's border regions and opened up the road to the west, thereby giving fresh impetus to economic and cultural exchanges between east and west. He also carried out a series of political and economic reforms in China, restricting the building up of great estates by landlords at the expense of the peasants, lightening taxes, encouraging handicrafts, iron-smelting, silk-weaving, shipbuilding and commerce, and recruiting officials from successful candidates in the civil service examinations. These measures greatly strengthened the Tang political system, and the development of productive forces brought about a great cultural renaissance. Literature, art, music, dancing and sculpture flourished as never before. The Tang empire was not only stronger than any preceding dynasty — it was at that time the strongest, richest and most civilized country in the world.

As commerce prospered, great cities sprang up. The Tang capital Chang'an (now Xi'an), which is the setting of five of the stories in this collection, was a thriving centre of foreign trade as were Liangzhou, Yangzhou, Guangzhou and other cities. Arab merchants and foreign priests and teachers came to China in large numbers — there were four to five thousand foreigners in Chang'an alone. The demand of the new urban class for literature and entertainment acted as an incentive to the development of poetry and all kinds of vernacular literature and minstrelsy. And this was the popular basis from which the short story developed.

Another factor to be considered in the development of Tang stories is the conflict that inevitably arose between the vigorous new urban class and all that was rotten in the old feudal order. This social conflict provided endless fresh material for short stories. Indeed, the high place accorded to the Tang stories in the history of Chinese literature is due to the fact that their authors give us a romantic yet relatively realistic and moving portrayal of the life of the times. The rivalries within the ruling class, the weaknesses of the feudal rulers, and the opposition of the people to feudal morality during the Tang Dynasty find truthful reflection in their works.

If we analyse the background of the Tang short story writers, we can understand another important factor in the development of the story. The great majority of these writers, we find, were scholars who sat for the civil service examinations. During the Six Dynasties officials had always been chosen from a few great houses, family status being the most important criterion of selection; hence the powerful clans who represented the interests of the great feudal landowners had a virtual monopoly of official appointments. In the Tang Dynasty, however, competitive examinations supervised by the central government were introduced. This meant that the sons of small landlords and merchants now had a chance to enter the ranks of the ruling class, with the result that all scholars were eager to pass the examinations.

In order to make a favourable impression on the examiner before the examination, it was customary for candidates to present him with essays or stories they had written. Zhao Yanwei in his Sketchbook Written Below the Hill writes;

The Tang scholars first prevailed on some important personage to send in their names to the authorities, then presented essays to the examiner. After a few days, they would present more. These essays combined a number of literary forms, and could display the poetic gifts of the writer as well as his knowledge of history and power of logical exposition.

This explains why most of the Tang writers of short stories were scholars who had sat for the civil service examinations. These men represented a new social force and were at variance with the great feudal landowners who had hitherto held all ruling positions. And the popularity of their stories was due to the fact that they reflected the spirit and manners of their times and the thoughts and desires of the common people.

II

The ten stories in this collection can be divided into three main categories: stories of the supernatural, stories with a political theme or adventure stories, and love stories.

Supernatural events form the theme of most of the earliest stories. China had always been rich in mythology, and, after the introduction of Buddhism into the country, tales of ghosts and spirits became even more popular, so that during the Six Dynasties we find a great number of such tales. The earliest Tang story, An Ancient Mirror, is made up of a number of supernatural tales about an old bronze mirror. Ren the Fox Fairy, The Dragon King's Daughter and The Spendthrift and the Alchemist all belong to this category. They differ, however, from earlier stories of the same type in having more closely knit plots and more colourful detail, being, in fact, consummate works of art imbued with all the vitality of their age.

Ren the Fox Fairy is a moving story of the love between a fox fairy and a young man named Zheng. Although Ren is a fairy, she has human characteristics. She loves Zheng dearly, and nothing can force her to be unfaithful to him. In the end she is killed by hounds, but Zheng never forgets her. It has been suggested that the hounds in this story stand for certain despots of the time.

In The Dragon King's Daughter we read of the love between a young scholar named Liu and the daughter of the dragon king of Dongting Lake. The dragon princess, married against her will and cruelly treated by her husband's parents, asks Liu to carry a letter to her father. When her uncle hears of her wrongs, he charges off angrily to kill her husband. Later Liu marries the dragon princess, and they both become immortal. This beautiful story served as the theme for a number of dramas written in later dynasties.

The Spendthrift and the Alchemist is an unusual story packed with suspense. The chief character is an unsuccessful young gambler who, submitted to all sorts of trials by a Taoist priest, does not falter. In the end, however, because he cannot overcome the love of a parent for his child, he loses his chance of becoming an immortal. Stories such as this show the influence of Indian Buddhist literature. They reflect both the escapist thought which was the outcome of a long period of war and confusion, and the conflicts of real life.

Political satires and tales of adventure are another striking type of Tang story. The Governor of the Southern Tributary State, The White Monkey, The Man with the Curly Beard and The Kunlun Slave all belong to this category.

The Governor of the Southern Tributary State describes the life led by the highest Tang officials. Writing to show the vanity of human pomp and riches, the author exposes the outlook of the Tang officials and their preoccupation with wealth and power.

The White Monkey is the story of a monkey with supernatural powers, written as a satire on a famous scholar who looked like a monkey. By the Tang Dynasty, literature was already being used as a political weapon.

Adventure stories belong to the end of the Tang Dynasty, when the imperial power was declining. After the revolt of An Lushan in 755, the central government grew weaker and