By Liangyan Ge

The novel Water Margin (Shuihu zhuan), China's earliest full-length narrative in vernacular prose, first seemed in print within the 16th century. the story of 1 hundred and 8 bandit heroes developed from an extended oral culture; in its novelized shape, it performed a pivotal position within the upward push of chinese language vernacular fiction, which flourished through the overdue Ming (1368-1644) and Qing (1644-1911) sessions. Liangyan Ge's multidimensional examine considers the evolution of Water Margin and the increase of vernacular fiction opposed to the heritage of the vernacularization of premodern chinese language literature as a complete. This slow and hard technique, because the booklet convincingly indicates, was once pushed through sustained touch and interplay among written tradition and well known orality.

Ge examines the stylistic and linguistic beneficial properties of the unconventional opposed to these of different works of early chinese language vernacular literature (stories, in particular), revealing an accretion of positive aspects general of other historic sessions and a protracted and cumulative strategy of textualization. as well as offering a meticulous philological examine, his paintings deals a brand new studying of the radical that translates a few of its salient features when it comes to the interaction among viewers, storytellers, and males of letters linked to renowned orality.

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There are a few other popular histories, including Xinbian Wudai shi pinghua, Xuanhe yishi, which contains a very sketchy account of the Shuihu story, Lianggong jiu jian, and Da Tang Sanzang qujing shihua. 73 As results of compilation based on various sources, these texts feature an irregular alternation of sections in wenyan with ones leaning toward baihua. In Wudai shi pinghua, for instance, the sections recounting the youthful days of Huang Chao, Zhu Wen, Li Keyong, Shi Jingtang, Liu Zhiyuan, and Guo Wei are clearly more vernacular than the rest of the work.

As the Mongol conquerors suspended the civil service examinations, wenyan lost its most important institutional buttress. And this was compounded by the nescience of the greenhorn Yuan rulers with the classical language. Consequently, the language in some bureaucratic documents during the Yuan period features a curious hybrid of simple wenyan, 20 Chapter 1 Mandarin, and Mongolian terms and expressions transliterated into Chinese characters, sometimes in a distorted syntax. 39 But what did have a far-reaching impact on the development of vernacular literature was the fact that, for the first time in the history of wenyan, the classical language lost, at least partially, its blessing from the supreme ruler and support from the bureaucracy.

First, the use of the vernacular in the yulu was quite different from its use in fictional literature, as in yulu the prestige of the high learning in the content would easily offset the presumed crudeness of the language medium. If it was possible to record someone’s speech in writing in Zhu Xi’s (1130–1200) time, still, to record the great master’s words was one thing, and to record a storyteller’s would be quite another, as our later discussion of the oral and performative genres will indicate.

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