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= Strange_Tales_from_a_Chinese_Studio =
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Introduction
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'Liaozhai zhiyi', sometimes shortened to 'Liaozhai', known in English
as 'Strange Tales from a Chinese Studio', 'Strange Stories from a
Chinese Studio', 'Strange Tales from Make-Do Studio', or literally
'Strange Tales from a Studio of Leisure', is a collection of Classical
Chinese stories by Qing dynasty writer Pu Songling, comprising close
to 500 stories or "marvel tales" in the 'zhiguai' and 'chuanqi'
styles, which according to some critics, served to implicitly
criticise societal problems. Written over a period of forty years from
the late 1600s and ending in the early 1700s, it circulated in
manuscripts that were copied and recopied among the author's friends
but did not appear in print until 1766. Since then, many of the
critically lauded stories have been adapted for other media such as
film and television.
Publication history
======================================================================
Pu assembled the nearly five hundred short and lengthy tales over a
period of forty years between the early 1670s and the early 1700s. As
was the convention of his time, Pu titled his work using the sobriquet
'Liaozhai' (), translated into English as the "Studio of Conversation"
or "Studio of Leisure".
The scholar Zhang Peiheng () writes that the original 'Liaozhai'
comprised eight volumes, the earliest completed around 1681 and the
latest completed between 1707 and 1714. The compilation was first
circulated in scribal copies but it was not published until after the
author's death in 1715. Around 1693, Shandong financial commissioner
Yu Chenglong reportedly offered Pu a thousand taels in exchange for
his 'Liaozhai' manuscript, but Pu declined his offer.
The final manuscript was "carefully preserved" by the Pu family after
his death, with many different individuals, including the local
magistrate, requesting to make copies of it. The earliest surviving
print version of 'Liaozhai' was printed in 1766 in Hangzhou by
publisher Zhao Qigao (), who claimed that Pu originally intended for
his anthology to be titled 'Tales of Ghosts and Foxes' (). Although
Zhao also alleged that his publication was based on the "original
manuscript" as was copied by a friend, it did not contain all the
stories found in the original manuscript; in the preface to his
publication, he writes, "I have expunged simple and brief notes which
are dull and commonplace, forty-eight in all." Moreover, Zhao censored
stories that had "brief references to sensitive topics". Nonetheless,
the Zhao edition was well-received and was first republished by
scholar Li Shixian () in 1767.
At some point after 1871, Pu Jieren (), a seventh-generation
descendant of Pu Songling, had the original manuscript, which was
reportedly made up of twenty volumes, rebound in eight volumes. They
were then kept in two boxes, one of which disappeared "under
circumstances which are still obscure". In 1950, the Pu family donated
the surviving four volumes, which contained some 237 short stories, to
the Liaoning Provincial Library.
Themes
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Unlike much Chinese and Western horror fiction, the "scary stories" in
'Liaozhai' are not intended to be frightening, but to blur the borders
between the supernatural and everyday reality, using physical and
psychological detail to make the move between these realms seem
natural. These tales, which are "works rich in romanticism", explore
the philosophical concept of 'qing' (情), the passionate and emotional
entanglement of the world, be it human or supernatural.
Literary significance
======================================================================
'Liaozhai zhiyi' is the most acclaimed Chinese "supernatural tales"
collection since the three major Ming dynasty 'hua' (話) collections,
which are the 'Jiandeng Xinhua' (剪燈新話) by Qu You, the 'Jiandeng Yuhua'
(剪燈餘話) by Li Changqi, and the 'Mideng Yinhua' (覓燈因話) by Shao Jingzhan;
these three had a far-reaching impact across East Asia.
Early commentary on 'Liaozhai' regarded it as a "superior but typical
example" of the 'zhiguai' genre. Subsequent critics and writers
disagreed with such a view, instead focusing on the allegorical nature
of the stories instead; for instance, Yu Ji, who was Zhao Qigao's
secretary, wrote in his preface to Zhao's edition of 'Liaozhai': "...
saying that it differs little from collections of rare phenomena or
strange tales is a very shallow view and one that greatly contradicts
the author's intent." Pu's grandson, Pu Lide (), viewed the work as
"an act of serious self-expression".
Still later critics in the nineteenth century focused on the "literary
style and narrative technique" of 'Liaozhai'. Qing dynasty critic Dan
Minglun () writes in the preface to his 1842 interlinear commentary of
'Liaozhai': "From 'Liaozhai', I also gained insight into literary
methods." Around the same period, 'Liaozhai' also attracted critical
attention from Western writers, for example, Samuel Wells Williams
mentioned 'Liaozhai' in his writings as "a perfect work with pure
language and elegant style" and its "beautiful writing style" has also
received praises from the likes of William Frederick Mayers and Karl
Gützlaff.
Since the 20th century, its literary status has been further elevated.
Guo Moruo said of 'Liaozhai' that "The writing of ghosts and demons is
superior to all others; the satire on corruption and tyranny is
penetrating to the marrow." Yuken Fujita of Keio University wrote in
1954 that "Among the many literary works that are descended from
ancient Chinese fiction [i.e. 'Bowuzhi', 'Soushen Ji', 'Shishuo
Xinyu', 'Lieyi Zhuan', 'Shi Yi Ji', etc.], it ['Liaozhai'] has already
established a reputation as the most outstanding short story
collection." Hiromasa Imai describes 'Liaozhai' as "the pinnacle of
ghost literature." 'Strange Tales from a Chinese Studio' was also
listed by Jorge Luis Borges as one of his favorite books.
Influence
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Following 'Liaozhai zhiyis critical and commercial success, other
well-received "wonder tale" and "fantasy" story collections also soon
appeared, creating a publishing craze for such literature in China
well into the 19th century. Some notable major collections include
Yuan Mei's 'Zibuyu' ('What the Master Would Not Discuss', 1788), Shen
Qifeng's 'Xie Duo' (1791), Ji Yun's 'Yuewei caotang biji' ('Notes of
the Thatched Abode of Close Observations', 1789-1798 & 1800) and
Wang Tao's 'Songyin manlu' (1875).
Unabridged
============
* 'Strange Tales From A Chinese Studio (Unabridged Version)', 12
volumes (tr. Park Jongho). Park Jongho, 2024. .
* 'Strange Tales from Liaozhai', 6 volumes (tr. Sidney L. Sondergard).
Jain Pub Co., 2008-2014. .
Excerpts and abridgements
===========================
* 'Strange Tales from a Chinese Studio' (tr. John Minford). London:
Penguin, 2006. 562 pages. .
* 'Strange Tales from the Liaozhai Studio' (Zhang Qingnian, Zhang
Ciyun and Yang Yi). Beijing: People's China Publishing, 1997. .
* 'Strange Tales from Make-do Studio' (Denis C. & Victor H. Mair).
Beijing: Foreign Languages Press, 1989. .
* 'Strange Tales of Liaozhai' (Lu Yunzhong, Chen Tifang, Yang Liyi,
and Yang Zhihong). Hong Kong: Commercial Press, 1982.
* 'Strange Stories from the Lodge of Leisure' (George Soulie). London:
Constable, 1913.
* 'Strange Stories from a Chinese Studio' (tr. Herbert A. Giles).
London: T. De La Rue, 1880; 2nd ed. revised, London, 1908; 3rd ed.
revised, London, Laurie, 1916. Reprinted with a new foreword by
Victoria Cass. Tokyo, Rutland, Vt.: Tuttle, 2010. .
Giles's translation
=====================
John Minford and Tong Man describe Herbert Giles's translation as
"prudish", because he chose not to translate "anything connected with
sex, procreation, blood, sometimes indeed the human body in any of its
aspects" and often made "extraordinary lengths to cover up his traces,
showing considerable craft and cunning." In the Giles translation fox
spirits wish to chat and share tea with people rather than trying to
seduce and engage in sexual intercourse, and romantic partners at most
exchange kisses. They wrote that "Giles was a creature of his time"
since he was required to follow Victorian Era morality, and urged
readers to "not get Giles' bowdlerising of 'Liao-chai' out of
proportion." They added that "the widely distributed Commercial Press
(HK) edition of the stories makes many of the same prudish cuts as
Giles."
Minford and Tong Man write that people have continued reading Giles's
translations even though they "have been at best quietly tolerated,
more often derided, and dismissed as orientalist bowdlerisations..."
Lydia Chiang describes Minford and Tong Man's essay as a "post-Saidian
re-evaluation" that compares the Giles translation to traditional and
modern Chinese representations of the story.
German
========
Martin Buber made the first German translation of the work, included
within his 'Chinesische Geister- und Liebesgeschichten'. Buber had
assistance from a person named Wang Jingdao. Buber stated in the
preface of his translation that his translation had portions
previously untranslated in Giles work because Giles, according to the
"English custom", had "omitted or paraphrased all passages which
seemed to him indecorous". The 'Chinesische Geister- und
Liebesgeschichten' was translated into English by Alex Page, published
in 1991 by the Humanities Press.
Other translations
====================
Vasily Mikhaylovich Alekseyev published an acclaimed translation of Pu
Songling's stories in Russian in two volumes, 'Fox's Wiles' (1922) and
'The Wizard Monks' (1923). It has been cited as the most accomplished
translation of the book into a foreign language. The book was
translated into Manchu as 'Sonjofi ubaliyambuha Liyoo jai jy i bithe'.
Lodovico Nicola di Giura (1868-1947) produced a complete Italian
translation of the 1766 edition.
Illustrated editions
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In the 19th century, colorful and fully illustrated collector's
editions of 'Liaozhai zhiyi' also circulated onto the literary scenes.
These exquisitely mounted illustrated 'Liaozhai' are now collected by
major libraries and museums around the world, such as the National
Library of China and Library of Congress.
File:聊斋全图.第08册.清代绘本.奥地利国家图书馆藏.pdf|page=12|"The Painted Skin"
File:聊斋全图.第08册.清代绘本.奥地利国家图书馆藏.pdf|page=24|"Jia er"
File:聊斋全图.第09册.清代绘本.奥地利国家图书馆藏.pdf|page=14|"Dong Sheng"
File:聊斋全图.第09册.清代绘本.奥地利国家图书馆藏.pdf|page=22|"Judge Lu"
File:聊斋全图.第11册.清代绘本.奥地利国家图书馆藏.pdf|page=6|"Nie Xiaoqian"
File:聊斋全图.第23册.清代绘本.奥地利国家图书馆藏.pdf|page=20|"Mr. Miao"
File:聊斋全图.第38册.清代绘本.奥地利国家图书馆藏.pdf|page=22|"Mao Hu"
File:聊斋全图.第53册.清代绘本.奥地利国家图书馆藏.pdf|page=8|"Jia Fengzhi"
File:聊斋全图.第53册.清代绘本.奥地利国家图书馆藏.pdf|page=14|"Three Incarnations"
File:聊斋全图.第65册.清代绘本.奥地利国家图书馆藏.pdf|page=20|"Xi Seng"
Adaptations
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* 'Liaozhai Zhiyi' has inspired many Chinese film adaptations,
including those by King Hu ('Painted Skin', 'A Touch of Zen'), Gordon
Chan ('Painted Skin, Mural'), Ching Siu-tung ('A Chinese Ghost Story'
series) and the Taiwanese director Li Han-Hsiang ('The Enchanting
Shadow').
* Jonathan D. Spence. 'The Death of Woman Wang.' (New York: Viking
Press, 1978). . Uses material from 'Liaozhai Zhiyi' to set the
background.
Bibliography
==============
*
*
* Chiang, Lydia Sing-Chen (2005).
'[
https://books.google.com/books?id=lgSqRGTP7UoC Collecting The Self:
Body And Identity In Strange Tale Collections Of Late Imperial China]'
('Sinica Leidensia' Volume 67). Brill. , 9789004142039.
*
* Chang, Chun-shu and Shelley Hsueh-lun Chang (1998) 'Redefining
History: Ghosts, Spirits, and Human Society in P'u Sung-ling's World,
1640-1715'. Ann Arbor: University of Michigan Press.
* Luo, Hui (University of Toronto Department of East Asian Studies).
"[
https://tspace.library.utoronto.ca/bitstream/1807/17472/1/Luo_Hui_200903_PhD_thesis.pdf
The Ghost Of 'liaozhai': Pu Songling’S Ghostlore And Its History Of
Reception]." (PhD thesis)
([
https://web.archive.org/web/20120124115747/https://tspace.library.utoronto.ca/bitstream/1807/17472/1/Luo_Hui_200903_PhD_thesis.pdf
Archive]) 2009.
* . A selective and annotated bibliography, with a section on
'Liaozhai'
* .
External links
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*
[
https://books.google.com/books?id=-SkRAAAAYAAJ&dq=strange%20tales%20from%20a%20chinese%20studio&pg=PR7
Selection of stories as translated by Herbert Giles, 1916] from Google
Books
* [
https://archive.org/details/strangestoriesfr00pusuuoft 'Strange
Stories from a Chinese Studio', 1880, translated and annotated by
Herbert A. Giles] at Internet Archive
*
*
* (Giles translation)
License
=========
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Original Article:
http://en.wikipedia.org/wiki/Strange_Tales_from_a_Chinese_Studio
