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Qin Lore
Includes works used as references in biographies
古琴傳說 1

This page has basic information about some English and Chinese language reference materials important for traditional Chinese lore but not introduced elsewhere on the site.2 Some of the English references are translations of Chinese works. On this site many of the qin biographies are more lore than history. Other basic sources of qin lore are included either with melody introductions in the qin handbook section, or with stories themselves, particularly those in the collection in Qinshu Daquan (QSDQ), Folio 17, which includes many more references, but with few translations at yet. Links are being made connect these other pages and the listing below.

English language reference materials, a selected list

  1. Anne Birrell, Chinese Mythology, an Introduction; Baltimore, Johns Hopkins University Press, 1993.

  2. Robert Ford Campany, To Live as Long as Heaven and Earth, A Translation and Study of Ge Hong's Traditions of Divine Transcendents (神仙傳 Shenxian Zhuan); Berkeley, 2002. 3

  3. Robert Ford Campany, Strange Writing, Anomaly Accounts in Early Medieval China; SUNY Press, 1992. (SW)

  4. Richard B. Mather, Shih-shuo Hsin-yü, a New Account of Tales of the World, 2nd ed.; Ann Arbor, 2002
    An annotated translation (originally published in Minneapolis, 1976) of 世說新語 Shishuo Xinyu, an "anthology of anecdotes, noteworthy conversations or remarks, and brief characterizations of historical persons...." (ICTCL, p.704). Shishuo Xinyu is said to have been compiled by a group of scholars under the direction of Liu Yiqing.
    4
 
Early Chinese language sources, a selected list
Many more are mentioned in QSDQ, Folio 17

  1. 白虎通 Baihu Tong: Comprehensive Discussions in the White Tiger Hall
    By 班固
    Ban Gu (32 - 92 CE). "A record...of discussions on the classics and on Confucian themes held at the court of the Han Emperor Zhang (r.75-88 C.E.) in 29 C.E.)." (Sources of Chinese Tradition, I, p.344.) References include:

    QSDQ, Folio 1, #1 (the famous 琴者禁也。禁止於邪以正人心也。)
    Qin Shi Bu, Fu Xi as one of the San Huang

  2. 博物志 Bowu Zhi: Treatise on Curiosities
    By 張華 Zhang Hua (232 - 303; Bio/1206), style name 茂先 Maoxian, was from 方城 Fangcheng in modern Hebei. Poor as a child, when he had to tend sheep, he studied hard, married well, completed his education then gained attention through his writings. He became a successful scholar and statesman under the Jin, living in the milieu of
    Ruan Ji and Xi Kang. But he was eventually executed for intrigue during a change of power. ICTCL, p.215, says he "is best remembered for his compilation 博物志 Bowu Zhi (Account of Wide Ranging Matters) which, despite its fictional quality and moderate size (in extant editions, 10 folios), provides excellent source materials...."

    Relevant references on this site, in addition to those in QSDQ, Folio 17, #18 and #42, include,

    Yang Chun (quoted)
    Bai Xue (referenced)
    Yang Chun (quoted)
    Biography of Zuo Si (referenced)

    (In QSDQ, Folio 16, #53 Su Dongpo mentions a different Zhang Hua)

  3. 洞仙傳 Dongxian Zhuan: Biographies of Grotto-Transcendents
    Originally written in 6th C. CE. (SW; 17777.xxx; .24 is 洞仙歌)
    References include QSDQ,
    Folio 17, #1.

  4. 風俗通 Fengsu Tong: Penetrating Popular Ways
    By 應劭 Ying Shao (3rd c. CE; Bio/1119); full title: Fengsu Tongyi (
    風俗通義 44734.218)

    Qinshu Daquan, Folio 1, #6 has the entire chapter from Fengsu Tongyi entitled Qin (original).
        Van Gulik, Lore, pp.72-3, translates it in its entirety.
    Part of the original text is quoted under Bo Ya
    Yuefu Shiji, Preface to the Qin Section quotes the end of the previous
    Taiyin Daquanji, Folio 1 begins by also quoting the end of the previous
    Taiyin Daquanji, Folio 4 is also said to quote it but I cannot find this
    Qin Shi Bu, Fu Xi quotes a different chapter saying the Three Majesties were Fu Xi, Nü Wa and Shen Nong
    Another chapter is the source of a story about Baili Xi (but not the title Yan Yi Ge)

  5. 古今注 Gujin Zhu: Note Old and New
    3308.55; by 崔豹 Cui Bao, ca. 300 CE; ICTCL, p.485/6). Several references in
    Yuefu Shiji
    TKW, Qin Fu, p.1686, has a 中華古今注 revised version by 馬縞 Ma Gao (d.936; Bio/67)

  6. 山海經 Shanhai Jing: Classic of Mountains and Seas
    There are also some non-specific citations to its first known editor 郭璞 Guo Pu
    Guo Pu (276 - 322; 40338.365, Strange Writing, ICTCL, Giles) was a 方士 master of esoteric skills connected to several works on anomalies: Shanhai Jing and 穆天子傳 (An Account of Emperor Mu; edited and perhaps augmented); 玄中記 Xuanzhong Ji (Records from Within the Recondite; author). He also wrote glosses for 爾雅 Er Ya.

    Shanhai Jing (see translation by Anne Birrell) refers to people mainly by translated names (e.g., Shun is "Hibiscus"), there are no Chinese characters, no index, no Chinese to English glossary, and the translation of musical instrument names makes it difficult to know their actual identity without looking at the original. Here are four examples from the Penguin edition:

    1. p.159: "Fond Care threw away his five-stringed lute and his twenty-five-stringed lute."
      Original is 顓頊棄其琴瑟 Zhuanxu threw away his qin se (a common pairing in early sources).
    2. p.195: "Mild dragon was the one who invented the lute and the zither."
      Original is 晏龍是為琴瑟 Yanlong was the one who invented the qin se.
    3. p. 87: "Mount Lutedrum". Original is 琴鼓之山 Mount Qin Drum
    4. pp.174, 226: "Longlute". Original is 長琴 Long Qin

    Guo Pu and Shanhai Jing references on this site include,

    YFSJ, Xiang Fei (both)
    QSCM 18, #30 (Guo Pu)

  7. 神仙感遇傳 Shenxian Ganyu Zhuan: Encounters with Divine Transcendents
    By 杜光庭 Du Guangting (850 - 933; ICTCL). References include QSDQ,
    Folio 17, #2.

  8. 墉城集仙錄 Yongcheng Jixian Lu: Records of the Assembled Transcendents of the Walled City
    Also by Du Guangting; QSDQ,
    Folio 17, #3, quotes two qin-related entries. Altogether this book has "careers, both mortal and immortal, of Taoist women and goddesses" (ICTCL). Of the apparently 109 original biographies 79 have survived, of which 27 are translated by Suzanne Cahill in her Divine Traces of the Daoist Sisterhood. This does not seem to include any of those with qin connections.

  9. 神仙傳 Shenxian Zhuan: Traditions of Divine Transcendents
    This "collection of the biographies of 84 Daoist immortals (mostly) extracted from various earlier works" (ICTCL, p.677) was written by 葛洪 Ge Hong (283 - 343), but commonly available Chinese versions (or quotations) are often from later works. Campany (see
    above) attempted as much as possible to reconstruct Ge Hong's original. Relevant references to it on this site include comments on the melodies Gu Guan Yu Shen and Yasheng Cao.

  10. 世說新語 Shishuo Xinyu by Liu Yiqing (403 - 444)
    See
    Mather above

  11. 拾遺記 Shi Yi Ji: Researching Lost Records
    12365.33: originally by 符秦方士王嘉 Wang Jia (4th c.; Bio/148), also called 王子年 Wang Zinian. The original is lost; a new edition from fragments was compiled in the 6th c. by 蕭綺 Xiao Qi. References include QSDQ,
    Folio 17, #17 and Huaxu Yin.
 
Later Chinese language sources, a selected list
Most are referenced in Qin Shi Bu and Qin Shi Xu

  1. 蓴湖漫錄 Chunhu Manlu: Casual Notes from Chun Lake
    32430xxx; 32500.7 (Chun Lake, in 溧陽 Liyang district, between Taihu and Maoshan). Qin Shi Xu #353,
    Jiang Chunhu has the same "Chunhu", both having the chun written 艸/純, but there seems to be no connection: there are later references, the last one being Zhang Chupu in the late 19th century.
    Chunhu Manlu is given as the partial or sole source for about 17 entries in Qin Shi Bu (17) and an as yet uncounted number in Qinshi Xu, The Qin Shi Bu biographies are of Su Nü, Duke Huan of Qi, He Xun, Wang Zhongxiong, Li Bai, Lü Wei, Cui Chaocang, Wang Jing'ao, Jiang Xuan, Wei Xian, Yan Hua, Wang Wei, Yang Xiong, Shen Zun, Lei Wei, Li Jingxian and Zhao Bi. The credited Qin Shi Xu articles begin with Zhu Changwen, Zhang Sun and Wen Tianxiang.

  2. 廣博物志 Guangbowu Zhi: Treatise on Many Curiosities
    A book by 董斯張 Dong Sizhang (Ming dynasty; Bio/2262) in 50 folios and 22 categories (9693.215 references
    四庫提要,子,類書類). Often quoted in Qin Shi Bu. Compare Bowu Zhi above.

  3. 路史 Lu Shi: Road Histories (?) Lun Qin (V.26)
    38394.12 By 羅泌 Luo Mi (or Bi; prob. 13th c.; Bio/1486). A book in 47 folios, it has a Qin Lun in QSDQ,
    Folio 1, #16, and a section with biographies from pre-history. It is the partial source for several early entries in Qin Shi Bu, including those for Zhu Song, Shen Nong, Huang Di, Mou Gou and Wu Guang.

  4. 然脂餘韻 Ranzhi Yuyun:
    19581.31 has only ranzhi: burn fat. It is the partial or sole source for many of the entries in Qin Shi Xu that concern Qing dynasty women qin players, including those for
    Zhang Foxiu, Huang Wanqiong, Ruan Enluo, Ding Yuelin, Hu Xiangduan, Ms. Cai, Jiang Jinqiu, Wang Yunmei, Jiang Hongzhen, and Li Wenhui.

  5. 剪燈餘話 Jiandeng Yuhua (More Stories while Trimming the Wick)
    by 李禎 Li Zhen (original name of 李昌祺 Li Changqi, 1376-1452). Bio/920 says Li Zhen was from 廬陵 Luling, part of 吉安 Ji'an district of western Jiangxi province). He became a local magistrate. His collection of 傳奇 Chuan Qi (romances or romance dramas) followed on the popularity of 剪燈新話 Jiandeng Xinhua by 瞿佑 Qu You (1341 - 1433), reviving a type of story that been popular during the Tang dynasty, but declined during the Song and Yuan periods. (ICTCL, p.275)

    Five of its 22 stories are translated in Wolfgang Bauer and Herbert Franke (ed), The Golden Casket (New York, Harcourt, Brace and World, 1964. Li Zhen has women playing the qin in two of these five. A man plays in at least one other.

    1. 連理樹記 The Trees at the Graveside (pp. 264 - 269)
      上官守愚 Shangguan Shouyu of Jiangtu (in Yangzhou) has a friend, 賈虛中 Jia Xuzhong, who has three daughters named after three qins in his possession, 瓊瑤 Jasper, 環珮 Jewel and 蓬萊 Paradise. The heroine of the story, Paradise, after various trials and tribulations including moving to Fujian, marries her childhood sweetheart Shangguan Sui. During their happy period she is described playing the qin, but then in 1362 her husband is murdered by bandits and she commits suicide by his grave.

    2. 鸞鸞記 Phoenix (pp. 277 - 284)
      Phoenix, daughter of 趙舉 Zhao Ju of Dongping in Shandong, expresses unhappiness in her marriage by writing a volume of verse called 破琴 Broken Zither (presumably evoking the famous
      Gao Shan Liu Shui story). She also mentions the qin in a poem. And she also commits suicide after her husband is murdered by bandits.

    3. 月夜彈琴記 Playing the Qin on a Moonlit Night
      The third story (information here is from Anne Gerritsen, whose translation is not yet published) concerns a man named 烏斯 Wu Si. One evening when Wu Si is playing the qin he encounters the ghost of a servant. The servant first gives him a set of poems composed by his mistress, then passes to him the qin melody Guangling San, a melody whose transmission has long been connected to ghosts (see comment).

  6. 聊齋誌異 Liaozhai Zhiyi (Strange Tales from a Chinese Studio; Wiki)
    This famous work has almost 500 stories collected or written/re-written by 蒲松齡 Pu Songling (1640-1715). There are a number of translations of selected stories, including those by:

    1. Huang Youyi et al (Strange Tales from the Liaozhai Studio, 4 vols., 2019 pp., Forign Languages Press, 2008)
    2. Sidney L. Sondergard (Strange Tales from Liaozhai, Vols. 1 [#1-83] and 2 [#84-166], 2008)
    3. John Minford (Strange Tales from a Chinese Studio, 2006); 106 stories
    4. Wang Juan (100 Passages from Strange Stories of Liaozhai, 1998)
    5. Zhang Qingnian, Zhang Ciyun and Yang Yi (Strange Tales from the Liaozhai Studio, 3 vols., over 1000 pp. Beijing: People's China Publ., 1997)
    6. Denis C. & Victor H. Mair (Strange Tales from Make-do Studio, 36 stories (30? 50?), 1989)
    7. Lu Yunzhong, Chen Tifang, Yang Liyi, and Yang Zhihong (Strange Tales of Liaozhai, 1982)
    8. George Soulie (Strange Stories from the Lodge of Leisure, 1913)
    9. Herbert Giles (Strange Stories from a Chinese Studio [online], 1880).

    Liaozhai stories commonly mention 琴瑟 qinse to mean marital love, and at least one story has had a qin added in a film version re-telling:2

    Nie Xiaoqian (聶小倩 Nie Xiaoqian)
    The 1960 film
    The Enchanting Shadow, based on this story, features a qin, but no music instrument is mentioned in the original Liaozhai version of the story. (As of 2010 the translation by Wong Juan could be found online.)

    Two other stories mention qin, but not the classical version:5

    1. The Island of the Immortals (仙人島 Xianren Dao)
      王勉 Wang Mian hears an instrument that is 非琴非瑟 neither qin nor se.

    2. A Gentleman from Fengyang (鳳陽士人 Fengyang Shiren)
      A woman 以牙杖撫提琴 uses a piece of ivory to play an instrument called a tiqin.

    At least four Liaozhai stories actually mention or feature the qin as a music instrument. These latter include the following:6

    1. Huan Niang (宦娘 Huan Niang, i.e., 趙宦娘 Zhao Huan Niang): trans. Mair has Ghost Maiden Huanniang
      温如春 Wen Ruchun was a poor scholar from a good family who had loved qin since he was young and always carried one when he traveled. One day he met a Daoist in an old temple who also carried a qin around with him. From him Wen learned great playing skills. On his way home, during a heavy rain storm he went into a house saw a beautiful girl age 17,18, who ran into her room. An old lady came out and told him the girl, 宦娘 Huanniang, was like a daughter to her. He stayed there and at night played his qin.

      After Wen Ruchun arrived home he met a rich girl 良工 Lianggong who loved both the qin and him, and against the wishes of her family he somehow managed to marry her. One night they heard his qin being played, but they found no one playing it. His wife suggested using an ancient mirror belonging to her family, as if it was a ghost playing they would then be able to see it. They did this and found it was Huanniang. Huanniang confessed that she had been dead now for 100 years. When young she had always loved zheng and qin, but she had died before learning qin. When she heard Wen playing it, she decided to help him marry the beautiful Lianggong. She then asked Wen to teach qin to her, and she in turn taught zheng to Lianggong. Before she left, she gave Wen a picture of her, and told him that if from time to time he would hang up the picture, light incense, and play a tune, she would then be very happy. Upon saying this she disappeared. (Thanks to Lau Shing Hon for the translation.)

    2. Swindles (局詐 Ju Zha): two stories, the second translated by Minford as "The Lutenist" [sic.])
      In the second story 嘉祥李 Mr. Li of Jianxiang is swindled out of his antique qin by a "Magistrate 程 Cheng", who plays Yu Feng Qu and Xiang Fei (Yuan), then whose "wife" plays Xian Qing zhi Fu (閑情之賦; Minford: All My Heart's Care, not on any qin melody lists) before they disappear with the qin.

    3. Chen Yunqi (陳雲棲 Chen Yunqi); partially trans. by Giles as Engaged to a Nun
      In this story the young scholar 真毓 Zhen Yu visits a temple, having heard that four beautiful nuns live there. Two of them, 白雲深 Bai Yunshen and 梁雲棟 Liang Yundong, get him drunk and seduce him, but he is particularly smitten by one who seems more chaste, real surname Wang but called Chen Yunqi after her Daoist master 陳 Chen. The fourth nun is her best friend, 盛雲眠 Sheng Yunmian. Zhen and Chen become engaged, but then separated. After various convoluted episodes they eventually marry.

      Giles translates only up to here; so far there has been no mention of qin. In the final third of the original story Zhen, having married Chen Yunqi, is persuaded by her also to marry Sheng Yunmian, whom Chen claims as a sister. The three live together, with the two women entertaining him by playing qin. (Thanks to Lau Shing Hon for help with this part.)

    4. Fen Die (White Butterfly [粉蝶 Fendie])
      陽日旦 Yang Ridan, while traveling home on a boat, encountered a great storm. Though blown way off course he managed to survive the storm. Suddenly he saw a small island. Landing, he went into a village house, heard qin and saw a beautiful maiden of 15 go inside. A young man named 晏 Yan then came out. After they talked a while Yan said that Yang must be his nephew. Although Yan's wife 十姑 Shigu looked only 18, she was Yang's aunt. It was she who was playing qin. Yang wanted to learn from her, so she taught him 2 tunes: Melody of the Great Storm (颶風操 Jufeng Cao) and Celestial Maiden Banished from Heaven (天女謫降 Tian Nü Zhe Jiang). At night Yang Ridan fell in love with the beautiful maid, whose name was 粉蝶 Fendie. Shigu promised Yang that later she would give Fendie to him.

      When Yang Ridan finally arrived home he found out he had actually disappeared for 16 years. His grandmother told him that Shigu was indeed his aunt, but she had married Yan, but he had left home when she was 16. She stayed at home and died 4 years later, but this was 30 years ago. When they looked in her coffin they had found no body.

      Now in their village there is a beautiful girl of 16 called 荷生 Hesheng. She has been engaged three times, but all three men died before they could marry. Yang Ridan marries her, and when he sees her he thinks she is in fact Fendie. But she knows nothing about having met him, being in fact a reincarnation of Fendie. So whenever Yang plays Celestial Maiden Banished from Heaven, Hesheng is really moved by it. (Thanks to Lau Shing Hon for the translation. In a modern version Fendie is a reincarnation of a butterfly spirit and Hesheng is said to have evolved from silk string.)

    Some of these stories have been adapted for television or film.

  7. 玄品錄 Xuanpin Lu: Records of the Mysterious Hierarchy (original text)
    By 張天雨 Zhang Tianyu (1279-1350), a Maoshan Daoist priest. Thomas Cleary renders the title as "Mystic History" in his Alchemists, Mediums and Magicians (Boston/London, Shambala, 2009), which translates most or all of the stories (Cleary does not say which; he also does not tell the Chinese title of the book or give any characters, and he translates "qin" as "lute"). The following entries mention qin; as can be seen, all but the last have entries in earlier qin sources.

 
Footnotes (Shorthand references are explained on a separate page)

1. Image
Not yet selected
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2. Other collections of lore discussed on this site
For example, Liexian Zhuan and Lienü Zhuan are introduced with the author, Liu Xiang.
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3. Ge Hong (葛洪 283 - 343)
Ge Hong, nicknamed 抱朴子 Baopuzi, in addition to his Shenxian Zhuan, is said to have written a Baopuzi 內篇 Nei Pian (the Daoist and esoteric Inner Chapters) and a Baopuzi 外篇 Wai Pian (the exoteric and Confucian Outer Chapters); there is further discussion in Wiki. His name is also romanized Ko Hung; and one biography, for some reason, calls him Kou Hong. He has a temple in Hangzhou named after him.
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4. 劉義慶 Liu Yiqing (403 - 444)
Bio/660 (and 2270.919) say nothing about music or poems, the only literary reference being Shishuo Xinyu. A noted scholar-official, Liu Yiqing was a member of the Southern Song dynasty imperial clan. There is a story about him in the introduction to the melody Wu Ye Ti. His official positions included being cishi (inspector) of Linchuan in Jiangxi as well as governor of Yanzhou in Shandong. His writings are said to have included:

  1. 世說新語 Shishuo Xinyu (New Account of Tales of the World)
    Liu Yiqing is said to have turned this compilation into a literary work of art. It is apparently the earliest source for the story about the origins of the melody Meihua Sannong. Divided into thirty-six chapters on such topics as moral integrity, discourse, government affairs, and literature. Its anecdotes regarding eminent people of the period since the end of the Han Dynasty included satirical accounts of their behavior.
  2. 幽明錄 You Ming Lu (Records of the Hidden and Visible World)
    9411.33xxx; Ghost stories. Qinshu Daquan, Folio 17, #8, quotes it, and it also includes the story Pang A.
  3. 集林 Ji Lin

Further details to be added.
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5. 聊齋誌異 Liaozhai Zhi Yi original text for 聶小倩 Nie Xiaoqian
As mentioned above, the qin is added only for the film versions - this original version does not mention any music instrument at all (copied from open-lit):

甯采臣,浙人。性慷爽,廉隅自重。每對人言:「生平無二色。」適赴金華,至北郭,解裝蘭若。寺中殿塔壯麗;然蓬蒿沒人,似絕行蹤。東西僧舍,雙扉虛掩;惟南一小舍,扃鍵如新。又顧殿東隅,修竹拱把;階下有巨池,野藕已花。意甚樂其幽杳。會學使按臨,城舍價昂,思便留止,遂散步以待僧歸。

日暮,有士人來,啟南扉。甯趨為禮,且告以意。士人曰:「此間無房主,僕亦僑居。能甘荒落,旦晚惠教,幸甚。」甯喜,藉藁代床,支板作几,為久客計。是夜,月明高潔,清光似水,二人促膝殿廊,各展姓字。士人自言:「燕姓,字赤霞。」甯疑為赴試諸生,而聽其音聲,殊不類浙。詰之,自言:「秦人。」語甚樸誠。既而相對詞竭,遂拱別歸寢。

甯以新居,久不成寐。聞舍北喁喁,如有家口。起伏北壁石窗下,微窺之。見短牆外一小院落,有婦可四十餘;又一媼衣緋,插蓬沓,鮐背龍鐘,偶語月下。婦曰:「小倩何久不來?」媼云:「殆好至矣。」婦曰:「將無向姥姥有怨言否?」曰:「不聞,但意似蹙蹙。」婦曰:「婢子不宜好相識!」言未已,有一十七八女子來,彷彿豔絕。媼笑曰:「背地不言人,我兩個正談道,小妖婢悄來無跡響。幸不訾著短處。」又曰:「小娘子端好是畫中人,遮莫老身是男子,也被攝魂去。」女曰:「姥姥不相譽,更阿誰道好?」婦人女子又不知何言。

甯意其鄰人眷口,寢不復聽。又許時,始寂無聲。方將睡去,覺有人至寢所。急起審顧,則北院女子也。驚問之。女笑曰:「月夜不寐,願修燕好。」甯正容曰:「卿防物議,我畏人言;略一失足,廉恥道喪。」女云:「夜無知者。」甯又咄之。女逡巡若復有詞。甯叱:「速去!不然,當呼南舍生知。」女懼,乃退。至戶外復返,以黃金一鋌置褥上。甯掇擲庭墀,曰:「非義之物,污吾囊橐!」女慚,出,拾金自言曰:「此漢當是鐵石。」

詰旦,有蘭溪生攜一僕來候試,寓於東廂,至夜暴亡。足心有小孔,如錐刺者,細細有血出。俱莫知故。經宿,僕一死,症亦如之。向晚,燕生歸,甯質之,燕以為魅。甯素抗直,頗不在意。宵分,女子復至,謂甯曰:「妾閱人多矣,未有剛腸如君者。君誠聖賢,妾不敢欺。小倩,姓聶氏,十八夭殂,葬寺側,輒被妖物威脅,歷役賤務;顏向人,實非所樂。今寺中無可殺者,恐當以夜叉來。」甯駭求計。女曰:「與燕生同室可免。」問:「何不惑燕生?」曰:「彼奇人也,不敢近。」問:「迷人若何?」曰:「狎昵我者,隱以錐刺其足,彼即茫若迷,因攝血以供妖飲;又惑以金,非金也,乃羅剎鬼骨,留之能截取人心肝:二者,凡以投時好耳。」甯感謝。

問戒備之期,答以明宵。臨別泣曰:「妾墮玄海,求岸不得。郎君義氣干雲,必能拔生救苦。倘肯囊妾朽骨,歸葬安宅,不啻再造。」甯毅然諾之。因問葬處,曰:「但記取白楊之上,有烏巢者是也。」言已出門,紛然而滅。

明日,恐燕他出,早詣邀致。辰後具酒饌,留意察燕。既約同宿,辭以性癖耽寂。甯不聽,強攜臥具來。燕不得已,移榻從之。囑曰:「僕知足下丈夫,傾風良切。要有微衷,難以遽白。幸勿翻窺篋襆,違之,兩俱不利。」甯謹受教。既而各寢。燕以箱篋置窗上,就枕移時,齁如雷吼。甯不能寐。近一更許,窗外隱隱有人影。俄而近窗來窺,目光睒閃。甯懼,方欲呼燕,忽有物裂篋而出,耀若匹練,觸折窗上石櫺,歘然一射,即遽斂入,宛如電滅。燕覺而起,甯偽睡以覘之。燕捧篋檢徵,取一物,對月嗅視,白光晶瑩,長可二寸,徑韭葉許。已而數重包固,仍置破篋中。自語曰:「何物老魅,直爾大膽,致壞篋子。」遂復臥。

甯大奇之,因起問之,且以所見告。燕曰:「既相知愛,何敢深隱。我,劍客也。若非石櫺,妖當立斃;雖然,亦傷。」問:「所緘何物?」曰:「劍也。適嗅之,有妖氣。」甯欲觀之。慨出相示,熒熒然一小劍也。於是益厚重燕。明日,視窗外,有血蹟。遂出寺北,見荒墳纍纍,果有白楊,烏巢其顛。迨營謀既就,趣裝欲歸。燕生設祖帳,情義殷渥。以破革囊贈甯,曰:「此劍袋也,寶藏可遠魑魅。」甯欲從授其術。曰:「如君信義剛直,可以為此;然君猶富貴中人,非此道中人也。」甯乃託有妹葬此,發掘女骨,斂以衣衾,賃舟而歸。甯齋臨野,因營墳葬諸齋外。祭而祝曰:「憐卿孤魂,葬近蝸居,歌哭相聞,庶不見陵於雄鬼。一甌漿水飲,殊不清旨,幸不為嫌。」祝畢而返。後有人呼曰:「緩待同行!」回顧,則小倩也。歡喜謝曰:「君信義,十死不足以報。請從歸,拜識姑嫜,媵御無悔。」審諦之,肌映流霞,足翹細筍,白晝端相,嬌豔尤絕。

遂與俱至齋中。囑坐少待,先入白母。母愕然。時甯妻久病,母戒勿言,恐所駭驚。言次,女已翩然入,拜伏地下。甯曰:「此小倩也。」母驚顧不遑。女謂母曰:「兒飄然一身,遠父母兄弟。蒙公子露覆,澤被髮膚,願執箕帚,以報高義。」母見其綽約可愛,始敢與言,曰:「小娘子惠顧吾兒,老身喜不可已。但生平止此兒,用承祧緒,不敢令有鬼偶。」女曰:「兒實無二心。泉下人,既不見信於老母,請以兄事,依高堂,奉晨昏,如何?」母憐其誠,允之。即欲拜嫂。母辭以疾,乃止。女即入廚下,代母尸饔,入房穿榻,似熟居者。日暮,母畏懼之,辭使歸寢,不為設床褥。女窺知母意,即竟去。

過齋欲入,卻退,徘徊戶外,似有所懼。生呼之。女曰:「室有劍氣畏人。向道途之不奉見者,良以此故。」甯悟為革囊,取懸他室。女乃入,就燭下坐。移時,殊不一語。久之,問:「夜讀否?妾少誦楞嚴經,今強半遺忘。浼求一卷,夜暇,就兄正之。」甯諾。又坐,默然,二更向盡,不言去。甯促之。愀然曰:「異域孤魂,殊怯荒墓。」甯曰:「齋中別無床寢,且兄妹亦宜遠嫌。」女起,容顰蹙而欲啼,足㑌儴而懶步,從容出門,涉階而沒。甯竊憐之。欲留宿別榻,又懼母嗔。

女朝旦朝母,捧匜沃盥,下堂操作,無不曲承母志。黃昏告退,輒過齋頭,就燭誦經。覺甯將寢,始慘然去。先是,甯妻病廢,母劬不可堪;自得女,逸甚。心德之。日漸稔,親愛如己出,竟忘其為鬼;不忍晚令去,留與同臥起。女初來未嘗食飲,半年漸啜稀。母子皆溺愛之,諱言其鬼,人亦不之辨也。無何,甯妻亡。母陰有納女意,然恐於子不利。女微窺之,乘間告母曰:「居年餘,當知兒肝鬲。為不欲禍行人,故從郎君來。區區無他意,止以公子光明磊落,為天人所欽矚,實欲依贊三數年,借博封誥,以光泉壤。」母亦知無惡,但懼不能延宗嗣。女曰:「子女惟天所授。郎君註福籍,有亢宗子三,不以鬼妻而遂奪也。」母信之,與子議。甯喜,因列筵告戚黨。或請覿新婦,女慨然華妝出,一堂盡眙,反不疑其鬼,疑為仙。由是五黨諸內眷,咸執贄以賀,爭拜識之。

女善畫蘭梅,輒以尺幅酬答,得者藏之什襲以為榮。一日,俛頸窗前,怊悵若失。忽問:「革囊何在?」曰:「以卿畏之,故緘置他所。」曰:「妾受生氣已久,當不復畏,宜取挂床頭。」甯詰其意,曰:「三日來,心怔忡無停息,意金華妖物,恨妾遠遁,恐旦晚尋及也。」甯果攜革囊來。女反復審視,曰:「此劍仙將盛人頭者也。敝敗至此,不知殺人幾何許!妾今日視之,肌猶粟慄。」乃懸之。

次日,又命移懸戶上。夜對燭坐,約甯勿寢。歘有一物,如飛鳥墮。女驚匿夾幙間。甯視之,物如夜叉狀,電目血舌,睒閃攫拏而前。至門卻步;逡巡久之,漸近革囊,以爪摘取,似將抓裂。囊忽格然一響,大可合簣;恍惚有鬼物,突出半身,揪夜叉入,聲遂寂然,囊亦頓縮如故。甯駭詫。女亦出,大喜曰:「無恙矣!」共視囊中,清水數斗而已。後數年,甯果登進士。女舉一男。納妾後,又各生一男,皆仕進有聲。
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3. 聊齋誌異 Liaozhai Zhi Yi stories that mention "qin" but not the guqin
Here is the original Chinese for two 聊齋誌異 Liao Zhai Zhiyi stories that mention the "qin" but not the classical instrument (copied from open-lit):

  1. 鳳陽士人 Fengyang Shiren
    鳳陽一士人,負笈遠遊。謂其妻曰:「半年當歸。」十餘月,竟無耗問。妻翹盼綦切。一夜,纔就枕,紗月搖影,離思縈懷。方反側間,有一麗人,珠鬟絳帔,搴帷而入,笑問:「姊姊,得無欲見郎君乎?」妻急起應之。麗人邀與共往。妻憚修阻,麗人但請無慮。即挽女手出,並踏月色,約行一矢之遠。覺麗人行迅速,女步履艱澀,呼麗人少待,將歸著複履。麗人牽坐路側,自乃捉足,脫履相假。女喜著之,幸不鑿枘。復起從行,健步如飛。移時,見士人跨白騾來。見妻大驚,急下騎,問:「何往?」女曰:「將以探君。」又顧問麗者伊誰。女未及答,麗人掩口笑曰:「且勿問訊。娘子奔波匪易;郎君星馳夜半,人畜想當俱殆。妾家不遠,且請息駕,早旦而行,不晚也。」顧數武之外,即有村落,遂同行,入一庭院,麗人促睡婢起供客,曰:「今夜月色皎然,不必命燭,小臺石榻可坐。」士人縶蹇檐梧,乃即坐。麗人曰:「履大不適於體,途中頗累贅否?歸有代步,乞賜還也。」女稱謝付之。俄頃,設酒果,麗人酌曰:「鸞鳳久乖,圓在今夕;濁醪一觴,敬以為賀。」士人亦執琖酬報。主客笑言,履舄交錯。士人注視麗者,屢以游詞相挑。夫妻乍聚,並不寒暄一語。麗人亦美目流情,妖言隱謎。女惟默坐,偽為愚者。久之漸醺,二人語益狎。又以巨觥勸客,士人以醉辭,勸之益苦。士人笑曰:「卿為我度一曲,即當飲。」麗人不拒,即以牙杖撫提琴而歌曰:「黃昏卸得殘妝罷,窗外西風冷透紗。聽蕉聲,一陣一陣細雨下。何處與人閒磕牙?望穿秋水,不見還家,潸潸淚似麻。又是想他,又是恨他,手拿著紅繡鞋兒占鬼卦。」歌竟,笑曰:「此市井里巷之謠,不足污君聽;然因流俗所尚,姑效顰耳。」音聲靡靡,風度狎褻。士人搖惑,若不自禁。少間,麗人偽醉離席;士人亦起,從之而去。久之不至。婢子乏疲,伏睡廊下。女獨坐,塊然無侶,中心憤恚,頗難自堪。思欲遁歸,而夜色微茫,不憶道路。輾轉無以自主,因起而覘之。裁近其窗,則斷雲零雨之聲,隱約可聞。又聽之,聞良人與己素常猥褻之狀,盡情傾吐。女至此,手顫心搖,殆不可過,念不如出門竄溝壑以死。憤然方行,忽見弟三郎乘馬而至,遽便下問。女具以告。三郎大怒,立與姊回,直入其家,則室門扃閉,枕上之語猶喁喁也。三郎舉巨石如斗,拋擊窗櫺,三五碎斷。內大呼曰:「郎君腦破矣!奈何!」女聞之,愕然大哭,謂弟曰:「我不謀與汝殺郎君,今且若何?」三郎撐目曰:「汝嗚嗚促我來;甫能消此胸中惡,又護男兒、怨弟兄,我不貫與婢子供指使!」返身欲去。女牽衣曰:「汝不攜我去,將何之?」三郎揮姊仆地,脫體而去。女頓驚寤,始知其夢。越日,士人果歸,乘白騾。女異之而未言。士人是夜亦夢,所見所遭,述之悉符,互相駭怪。既而三郎聞姊夫自遠歸,亦來省問。語次,謂士人曰:「昨宵夢君歸,今果然,亦大異。」士人笑曰:「幸不為巨石所斃。」三郎愕然問故,士以夢告。三郎大異之。蓋是夜,三郎亦夢遇姊泣訴,憤激投石也。三夢相符,但不知麗人何許耳。
  2. 仙人島 Xianren Dao
    王勉,字黽齋,靈山人。有才思,屢冠文場,心氣頗高,善誚罵,多所凌折。偶遇一道士,視之曰:「子相極貴,然被『輕薄孽』折除幾盡矣。以子智慧,若反身修道,尚可登仙籍。」王嗤曰:「福澤誠不可知,然世上豈有仙人!」道士曰:「子何見之卑?無他求,即我便是仙耳。」王乃益笑其誣。道士曰:「我何足異。能從我去,真仙數十,可立見之。」問:「在何處?」曰:「咫尺耳。」遂以杖夾股間,即以一頭授生,令如己狀。囑合眼,呵曰:「起!」覺杖粗如五斗囊,凌空翕飛,潛捫之,鱗甲齒齒焉。駭懼,不敢復動。移時,又呵曰:「止!」即抽杖去,落巨宅中,重樓延閣,類帝王居。有臺高丈餘,臺上殿十一楹,弘麗無比。道士曳客上,即命童子設筵招賓。殿上列數十筵,鋪張炫目。道士易盛服以伺。少頃,諸客自空中來,所騎,或龍、或虎、或鸞鳳,不一類。又各攜樂器。有女子,有丈夫,有赤其兩足。中獨一麗者,跨彩鳳,宮樣妝束;有侍兒代抱樂具,長五尺以來,非琴非瑟,不知其名。酒既行,珍肴雜錯,入口甘芳,並異常饈。王默然寂坐,惟目注麗者,然心愛其人,而又欲聞其樂,竊恐其終不一彈。酒闌,一叟倡言曰:「蒙崔真人雅召,今日可云盛會,自宜盡懽。請以器之同者,共隊為曲。」於是各合配旅。絲竹之聲,響徹云漢。獨有跨鳳者,樂伎無偶。群聲既歇,侍兒始啟繡囊,橫陳几上。女乃舒玉腕,如搊箏狀,其亮數倍於琴,烈足開胸,柔可蕩魄。彈半炊許,合殿寂然,無有欬者。既闋,鏗爾一聲,如擊清磬。共贊曰:「雲和夫人絕技哉!」大眾皆起告別,鶴唳龍吟,一時並散。道士設寶榻錦衾,備生寢處。王初睹麗人,心情已動;聞樂之後,涉想尤勞。念己才調,自合芥拾青紫,富貴後何求弗得。頃刻百緒,亂如蓬麻。道士似已知之,謂曰:「子前身與我同學,後緣意念不堅,遂墜塵網。僕不自他於君,實欲拔出惡濁;不料迷晦已深,夢夢不可提悟。今當送君行。未必無復見之期,然作天仙須再劫矣。」遂指階下長石,令閉目坐,堅囑無視。已,乃以鞭驅石。石飛起,風聲灌耳,不知所行幾許。

    忽念下方景界,未審何似;隱將兩眸微開一線,則見大海茫茫,渾無邊際。大懼,即復合,而身已隨石俱墮,砰然一聲,汨沒若鷗。幸夙近海,略諸泅浮。聞人鼓掌曰:「美哉跌乎!」危殆方急,一女子援登舟上,且曰:「吉利,吉利,秀才『中溼』矣!」視之,年可十六七,顏色豔麗。王出水寒慄,求火燎之。女子言:「從我至家,當為處置。苟適意,勿相忘。」王曰:「是何言哉!我中原才子,偶遭狼狽,過此圖以身報,何但不忘!」女子以棹催艇,疾如風雨,俄已近岸。於艙中攜所採蓮花一握,導與俱去。半里許入村,見朱戶南開,進歷數重門,女子先馳入。少間,一丈夫出,是四十許人,揖王升階,命侍者取冠袍襪履,為王更衣。既,詢邦族。王曰:「某非相欺,才名略可聽聞。崔真人切切眷戀,招昇天闕。自分功名反掌,以故不願棲隱。」丈夫起敬曰:「此名仙人島,遠絕人世。文若,姓桓。世居幽僻,何幸得近名流。」因而殷懃置酒。又從容而言曰:「僕有二女,長者芳雲,年十六矣,祗今未遭良匹。欲以奉侍高人,如何?」王意必採蓮人,離席稱謝。桓命於鄰黨中,招二三齒德來。顧左右,立喚女郎。無何,異香濃射,美姝十於輩,擁芳雲出,光豔明媚,若芙蕖之映朝日。拜已,即坐,群姝列侍,則採蓮人亦在焉。酒數行,一垂髫女自內出,僅十餘齡,而姿態秀曼,笑依芳雲肘下,秋波流動。桓曰:「女子不在閨中,出作何務?」乃顧客曰:「此綠云,即僕幼女。頗惠,能記典、墳矣。」因令對客吟詩。遂誦竹枝詞三章,嬌婉可聽。便令傍姊隅坐。桓因謂:「王郎天才,宿搆必富,可使鄙人得聞教乎?」王即慨然誦近體一作,顧盼自雄,中二句云:「一身剩有鬚眉在,小飲能令塊磊消。」鄰叟再三誦之。芳雲低告曰:「上句是孫行者離火雲洞,下句是豬八戒過子母河也。」一座撫掌。桓請其他。王述水鳥詩云:「瀦頭鳴格磔,……」忽忘下句。甫一沉吟,芳雲向妹咕咕耳語,遂掩口而笑。綠雲告父曰:「渠為姊夫續下句矣。云:『狗腚響弸巴。』」合席粲然。王有慙色。桓顧芳雲,怒之以目。王色稍定,桓復請其文藝。王意世外人必不知八股業,乃炫其冠軍之作,題為孝哉閔子騫二句,破云:「聖人贊大賢之孝……」綠雲顧父曰:「聖人無字門人者,『孝哉……』一句,即是人言。」王聞之,意興索然。桓笑曰:「童子何知!不在此,只論文耳。」王乃復誦。每數句,姊妹必相耳語,似是月旦之詞,但嚅囁不可辨。王誦至佳處,兼述文宗評語,有云:「字字痛切。」綠雲告父曰:「姊云:『宜刪「切」字。』」眾都不解。桓恐其語嫚,不敢研詰。王誦畢,又述總評,有云:「羯鼓一撾,則萬花齊落。」芳雲又掩口語妹,兩人皆笑不可仰。綠雲又告曰:「姊云:『羯鼓當是四撾。』」眾又不解。綠雲啟口欲言,芳雲忍笑訶之曰:「婢子敢言,打煞矣!」眾大疑,互有猜論。綠雲不能忍,乃曰:「去『切』字,言『痛』則『不通』。鼓四撾,其聲云『不通又不通』也。」眾大笑。桓怒訶之。因而自起泛卮,謝過不遑。王初以才名自詡,目中實無千古;至此,神氣沮喪,徒有汗淫。桓諛而慰之曰:「適有一言,請席中屬對焉:『王子身邊,無有一點不似玉。』」眾未措想,綠雲應聲曰:「黽翁頭上,再著半夕即成龜。」芳雲失笑,呵手扭脅肉數四。綠雲解脫而走,回顧曰:「何預汝事!汝罵之頻頻,不以為非;寧他人一句,便不許耶?」桓咄之,始笑而去。鄰叟辭別。諸婢導夫妻入內寢,燈燭屏榻,陳設精備。又視洞房中,牙籤滿架,靡書不有。略致問難,響應無窮。王至此,始覺望洋堪羞。女喚「明璫」,則採蓮者趨應,由是始識其名。屢受誚辱,自恐不見重於閨闥;幸芳雲語言雖虐,而房幃之內,猶相愛好。王安居無事,輒復吟哦。女曰:「妾有良言,不知肯嘉納否?」問:「何言?」曰:「從此不作詩,亦藏拙之一道也。」王大慚,遂絕筆。久之,與明璫漸狎。告芳雲曰:「明璫與小生有拯命之德,願少假以辭色。」芳雲乃即許之。每作房中之戲,招與共事,兩情益篤,時色授而手語之。芳雲微覺,責詞重疊;王惟喋喋,強自解免。

    一夕,對酌,王以為寂,勸招明璫。芳雲不許。王曰:「卿無書不讀,何不記『獨樂樂』數語?」芳雲曰:「我言君不通,今益驗矣。句讀尚不知耶?『獨要,乃樂於人要;間樂,孰要乎?曰:不。』」一笑而罷。適芳雲姊妹赴鄰女之約,王得間,急引明璫,綢繆備至。當晚,覺小腹微痛;痛已,而前陰盡腫。大懼,以告芳雲。雲笑曰:「必明璫之恩報矣!」王不敢隱,實供之。芳雲曰:「自作之殃,實無可以方略。既非痛癢,聽之可矣。」數日不瘳,優悶寡歡。芳雲知其意,亦不問訊,但凝視之,秋水盈盈,朗若曙星。王曰:「卿所謂『胸中正,則眸子瞭焉』。」芳雲笑曰:「卿所謂『胸中不正,則瞭子眸焉』。」蓋「沒有」之「沒」,俗讀似「眸」,故以此戲之也。王失笑,哀求方劑。曰:「君不聽良言,前此未必不疑妾為妒意。不知此婢原不可近。曩實相愛,而君若東風之吹馬耳,故唾棄不相憐。無已,為若治之。然醫師必審患處。」乃探衣而咒曰:「『黃鳥黃鳥,無止于楚!』」王不覺大笑,笑已而瘳。逾數月,王以親老子幼,每切懷憶。以意告女。女曰:「歸即不難,但會合無日耳。」王涕下交頤,哀與同歸,女籌思再三,始許之。桓翁張筵祖餞。綠雲提籃入,曰:「姊姊遠別,莫可持贈。恐至海南,無以為家,夙夜代營宮室,勿嫌草創。」芳雲拜而受之。近而審諦,則用細草製為樓閣,大如櫞,小如橘,約二十餘座,每座梁棟榱題,歷歷可數;其中供帳床榻,類麻粒焉。王兒戲視之,而心竊歎其工。芳雲曰:「實與君言:我等皆是地仙。因有夙分,遂得陪從。本不欲踐紅塵,徒以君有老父,故不忍違。待父天年,須復還也。」王敬諾。桓乃問:「陸耶?舟耶?」王以風濤險,願陸。出則車馬已候於門。謝別而邁,行蹤騖駛。俄至海岸,王心慮其無途。芳雲出素練一疋,望南拋去,化為長堤,其闊盈丈。瞬息馳過,堤亦漸收。至一處,潮水所經,四望遼邈。芳雲止勿行,下車取籃中草具,偕明璫數輩,布置如法,轉眼化為巨第。並入解裝,則與島中居無稍差殊,洞房內几榻宛然。時已昏暮,因止宿焉。早旦,命王迎養。王命騎趨詣故里,至則居宅已屬他姓。問之里人,始知母及妻皆已物故,惟老父尚存。子善博,田產並盡,祖孫莫可棲止,暫僦居於西村。王初歸時,尚有功名之念,不恝於懷;及聞此況,沉痛大悲,自念富貴縱可攜取,與空花何異。驅馬至西村,見父衣服滓敝,衰老堪憐。相見,各哭失聲。問不肖子,則出賭未歸。王乃載父而還。芳雲朝拜已畢,燂湯請浴,進以錦裳,寢以香舍。又遙致故老與談嚥,享奉過於世家。子一日尋至其處,王絕之,不聽入,但予以廿金,使人傳語曰:「可持此買婦,以圖生業。再來,則鞭打立斃矣!」子泣而去。王自歸,不甚與人通禮;然故人偶至,必延接盤桓,撝抑過於平日。獨有黃子介,夙與同門學,亦名士之坎坷者,王留之甚久,時與秘語,賂遺甚厚。居三四年,王翁卒,王萬錢卜兆,營葬盡禮。時子已娶婦,婦束男子嚴,子賭亦少間矣;是日臨喪,始得拜識姑嫜。芳雲一見,許其能家,賜三百金為田產之費。翼日,黃及子同往省視,則舍宇全渺,不知所在。

    異史氏曰:「佳麗所在,人且於地獄中求之,況享受無窮乎?地仙許攜姝麗,恐帝闕下虛無人矣。輕薄減其祿籍,理固宜然,豈仙人遂不之忌哉?彼婦之口,抑何其虐也!」
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6. 聊齋誌異 Liao Zhai Zhiyi stories that mention qin
These four have been copied from open-lit:

  1. 宦娘 Huan Niang
    溫如春,秦之世家也。少癖嗜琴,雖逆旅未嘗暫舍。客晉,經由古寺,繫馬門外,暫憩止。入則有布衲道人,趺坐廊間,筇杖倚壁,花布囊琴。溫觸所好,因問:「亦善此也?」道人云:「顧不能工,願就善者學之耳。」遂脫囊授溫,視之,紋理佳妙,略一勾撥,清越異常。喜為撫一短曲,道人微笑,似未許可。溫乃竭盡所長。道人哂曰:「亦佳,亦佳!但未足為貧道師也。」溫以其言夸,轉請之。道人接置膝上,裁撥動,覺和風自來;又頃之,百鳥群集,庭樹為滿。溫驚極,拜請受業。道人三復之,溫側耳傾心,稍稍會其節奏。道人試使彈,點正疏節,曰:「此塵間已無對矣。」溫由是精心刻畫,遂稱絕技。後歸程,離家數十里,日已暮,暴雨莫可投止。路傍有小村,趨之。不遑審擇,見一門,匆匆遽入。登其堂,闃無人。俄一女郎出,年十七八,貌類神仙。舉首見客,驚而走入。溫時未耦,繫情殊深。俄一老嫗出問客,溫道姓名,兼求寄宿。嫗言:「宿當不妨,但少床榻;不嫌屈體,便可藉蓁。」少旋,以燭來,展草鋪地,意良殷。問其姓氏,答云:「趙姓。」又問:「女郎何人?」曰:「此宦娘,老身之猶子也。」溫曰:「不揣寒陋,欲求援繫,如何?」嫗顰蹙曰:「此即不敢應命。」溫詰其故,但云難言,悵然遂罷。嫗既去,溫視藉草腐溼,不堪臥處,因危坐鼓琴,以消永夜。雨既歇,冒夜遂歸。邑有林下部郎葛公,喜文士,溫偶詣之,受命彈琴。簾內隱約有眷客窺聽,忽風動簾開,見一及笄人,麗絕一世。蓋公有一女,小字良工,善詞賦,有豔名。溫心動,歸與母言,媒通之,而葛以溫勢式微,不許。然女自聞琴以後,心竊傾慕,每冀再聆雅奏;而溫以姻事不諧,志乖意沮,絕跡於葛氏之門矣。一日,女於園中,拾得舊箋一折,上書惜餘春詞云:「因恨成癡,轉思作想,日日為情顛倒。海棠帶醉,楊柳傷春,同是一般懷抱。甚得新愁舊愁,剗盡還生,便如青草。自別離,只在奈何天裏,度將昏曉。今日箇蹙損春山,望穿秋水,道棄已拚棄了!芳衾妒夢,玉漏驚魂,要睡何能睡好?漫說長宵似年;儂視一年,比更猶少:過三更已是三年,更有何人不老!」女吟詠數四,心悅好之。懷歸,出錦箋,莊書一通,置案間;逾時索之不可得,竊意為風飄去。適葛經閨門過,拾之;謂良工作,惡其詞蕩,火之而未忍言,欲急醮之。臨邑劉方伯之公子,適來問名,心善之,而猶欲一睹其人。公子盛服而至,儀容秀美。葛大悅,款延優渥。既而告別,坐下遺女舄一鉤。心頓惡其儇薄,因呼媒而告以故。公子亟辯其誣;葛弗聽,卒絕之。先是,葛有綠菊種,吝不傳,良工以植閨中。溫庭菊忽有一二株化為綠,同人聞之,輒造廬觀賞;溫亦寶之。凌晨趨視,於畦畔得箋寫惜餘春詞,反覆披讀,不知其所自至。以「春」為己名,益惑之,即案頭細加丹黃,評語褻嫚。適葛聞溫菊變綠,訝之,躬詣其齋,見詞便取展讀。溫以其評褻,奪而挼莎之。葛僅讀一兩句,蓋即閨門所拾者也。大疑,並綠菊之種,亦猜良工所贈。歸告夫人,使逼詰良工。良工涕欲死;而事無驗見,莫有取實。夫人恐其跡益彰,計不如以女歸溫。葛然之,遙致溫。溫喜極。是日招客為綠菊之宴,焚香彈琴,良夜方罷。既歸寢,齋童聞琴自作聲,初以為僚僕之戲也;既知其非人,始白溫。溫自詣之,果不妄。其聲梗澀,似將效己而未能者。爇火暴入,杳無所見。溫攜琴去,則終夜寂然。因意為狐,固知其願拜門牆也者,遂每夕為奏一曲,而設絃任操若師,夜夜潛伏聽之。至六七夜,居然成曲,雅足聽聞。溫既親迎,各述曩詞,始知締好之由,而終不知所由來。良工聞琴鳴之異,往聽之,曰:「此非狐也,調悽楚,有鬼聲。」溫未深信。良工因言其家有古鏡,可鑑魑魅。翊日,遣人取至,伺琴聲既作,握鏡遽入;火之,果有女子在,倉皇室隅,莫能復隱。細審之,趙氏之宦娘也。大駭,窮詰之。泫然曰:「代作蹇修,不為無德,何相逼之甚也?」溫請去鏡,約勿避;諾之。乃囊鏡。女遙坐曰:「妾太守之女,死百年矣。少喜琴箏;箏已頗能諳之,獨此技未有嫡傳,重泉猶以為憾。惠顧時,得聆雅奏,傾心嚮往;又恨以異物不能奉裳衣,陰為君胹合佳偶,以報眷顧之情。劉公子之女舄,惜餘春之俚詞,皆妾為之也。酬師者不可謂不勞矣。」夫妻咸拜謝之。宦娘曰:「君之業,妾思過半矣;但未盡其神理。請為妾再鼓之。」溫如其請,又曲陳其法。宦娘大悅曰:「妾已盡得之矣!」乃起辭欲去。良工故善箏,聞其所長,願一披聆。宦娘不辭,其調其譜,並非塵世所能。良工擊節,轉請受業。女命筆為繪譜十八章,又起告別。夫妻挽之良苦,宦娘悽然曰:「君琴瑟之好,自相知音;薄命人烏有此福。如有緣,再世可相聚耳。」因以一卷授溫曰:「此妾小像。如不忘媒妁,當懸之臥室,快意時,焚香一炷,對鼓一曲,則兒身受之矣。」出門遂沒。

  2. 局詐 Ju Zha
    某御史家人,偶立市間,有一人衣冠華好,近與攀談。漸問主人姓字、官閥,家人並告之。其人自言:「王姓,貴主家之內使也。」語漸款洽,因曰:「宦途險惡,顯者皆附貴戚之門,尊主人所託何人也?」答曰:「無之。」王曰:「此所謂惜小費而忘大禍者也。」家人曰:「何託而可?」王曰:「公主待人以禮,能覆翼人。某侍郎係僕階進。倘不惜千金贄,見公主當亦不難。」家人喜,問其居止。便指其門戶曰:「日同巷不知耶?」家人歸告侍御。侍御喜,即張盛筵,使家人往邀王。王欣然來。筵間道公主情性及起居瑣事甚悉。且言:「非同巷之誼,即賜百金賞,不肯效牛馬。」御史益佩戴之。臨別訂約。王曰:「公但備物,僕乘間言之,旦晚當有報命。」越數日始至,騎駿馬甚都。謂侍御曰:「可速治裝行。公主事大煩,投謁者踵相接,自晨及夕,不得一間。今得少隙,宜急往,誤則相見無期矣。」侍御乃出兼金重幣,從之去。曲折十餘里,始至公主第,下騎祗候。王先持贄入。久之,出,宣言:「公主召某御史。」即有數人接遞傳呼。侍御傴僂而入,見高堂上坐麗人,姿貌如仙,服飾炳耀;侍姬皆著錦繡,羅列成行。侍御伏謁盡禮。傳命賜坐簷下,金椀進茗。主略致溫旨,侍御肅而退。自內傳賜緞靴、貂帽。既歸,深德王,持刺謁謝,則門闔無人。疑其侍主未歸。三日三詣,終不復見。使人詢諸貴主之門,則高扉扃錮。訪之居人,並言:「此間曾無貴主。前有數人僦屋而居,今去已三日矣。」使反命,主僕喪氣而已。

    副將軍某,負貲入都,將圖握篆,苦無階。一日,有裘馬者謁之,自言:「內兄為天子近侍。」茶已,請間云:「目下有某處將軍缺,倘不吝重金,僕囑內兄游揚聖主之前,此任可致,大力者不能奪也。」某疑其妄。其人曰:「此無須踟躕。某不過欲抽小數於內兄,於將軍錙銖無所望。言定如干數,署券為信。待召見後,方求實給;不效,則汝金尚在,誰從懷中而攫之耶?」某乃喜,諾之。次日,復來引某去,見其內兄,云:「姓田。」暄赫如侯家。某參謁,殊傲睨不甚為禮。其人持券向某曰:「適與內兄議,率非萬金不可,請即署尾。」某從之。田曰:「人心叵測,事後慮有翻覆。」其人笑曰:「兄慮之過矣。既能予之,寧不能奪之耶?且朝中將相,有願納交而不可得者,將軍前程方遠,應不喪心至此。」某亦力矢而去。其人送之,曰:「三日即覆公命。」逾兩日,日方西,數人吼奔而入,曰:「聖上坐待矣!」某驚甚,疾趨入朝。見天子坐殿上,爪牙森立。某拜舞已。上命賜坐,慰問殷勤。顧左右曰:「聞某武烈非常,今見之,真將軍才也!」因曰:「某處險要地,今以委卿,勿負朕意,侯封有日耳。」某拜恩出。即有前日裘馬者從至客邸,依券兌付而去。於是高枕待綬,日誇榮於親友。過數日,探訪之,則前缺已有人矣。大怒,忿爭於兵部之堂,曰:「某承帝簡,何得授之他人?」司馬怪之。及述寵遇,半如夢境。司馬怒,執下廷尉。始供其引見者之姓名,則朝中並無此人。又耗萬金,始得革職而去。異哉!武弁雖騃,豈朝門亦可假耶?疑其中有幻術存焉,所謂「大盜不操矛弧」者也。

    (琴家? Minford translates this as a separate story, #94, "The lutenist" (sic.)
    嘉祥李生,善琴。偶適東郊,見工人掘土得古琴,遂以賤直得之。拭之有異光;安絃而操,清烈非常。喜極,若獲拱璧,貯以錦囊,藏之密室,雖至戚不以示也。邑丞程氏,新蒞任,投刺謁李。李故寡交游,以其先施故,報之。過數日,又招飲,固請乃往。程為人風雅絕倫,議論瀟灑,李悅焉。越日,折柬酬之,懽笑益洽。從此月夕花晨,未嘗不相共也。年餘,偶於丞廨中,見繡囊裹琴置几上。李便展玩。程問:「亦諳此否?」李曰:「生平最好。」程訝曰:「知交非一日,絕技胡不一聞?」撥爐爇沉香,請為小奏。李敬如教。程曰:「大高手!願獻薄技,勿笑小巫也。」遂鼓《御風曲》,其聲泠泠,有絕世出塵之意。李更傾倒,願師事之。自此二人以琴交,情分益篤。年餘,盡傳其技。然程每詣李,李以常琴供之,未肯洩所藏也。一夕,薄醉。丞曰:「某新肄一曲,無亦願聞之乎?」為秦《湘妃》,幽怨若泣。李亟贊之。丞曰:「所恨無良琴;若得良琴,音調益勝。」李欣然曰:「僕蓄一琴,頗異凡品。今遇鍾期,何敢終密?」乃啟櫝負囊而出。程以袍袂拂塵,憑几再鼓,剛柔應節,工妙入神。李擊節不置。丞曰:「區區拙技,負此良琴。若得荊人一奏,當有一兩聲可聽者。」李驚曰:「公閨中亦精之耶?」丞笑曰:「適此操乃傳自細君者。」李曰:「恨在閨閣,小生不得聞耳。」丞曰:「我輩通家,原不以形跡相限。明日,請攜琴去,當使隔簾為君奏之。」李悅。次日,抱琴而往。程即治具懽飲。少間,將琴入,旋出即坐。俄見簾內隱隱有麗妝,頃之,香流戶外。又少時,絃聲細作;聽之不知何曲,但覺蕩心媚骨,令人魂魄飛越。曲終便來窺簾,竟二十餘絕代之姝也。丞以巨白勸釂,內復改絃為《閑情之賦》,李形神益惑。傾飲過醉,離席興辭,索琴。丞曰:「醉後防有磋跌。明日復臨,當今閨人盡其所長。」李歸。次日詣之,則廨舍寂然,惟一老隸應門。問之,云:「五更攜眷去,不知何作,言往復可三日耳。」如期往伺之,日暮,並無音耗。吏皂皆疑,白令破扃而窺其室,室盡空,惟几榻猶存耳。達之上臺,並不測其何故。李喪琴,寢食俱廢,不遠數千里訪諸其家。──程故楚產,三年前,捐貲受嘉祥。──執其姓名,詢其居里,楚中並無其人。或云:「有程道士者,善鼓琴;又傳其有點金術。三年前,忽去不復見。」疑即其人。又細審其年甲、容貌,吻合不謬。乃知道士之納官,皆為琴也。知交年餘,並不言及音律;漸而出琴,漸而獻技,又漸而惑以佳麗;浸漬三年,得琴而去。道士之癖,更甚於李生也。天下之 騙機多端,若道士,猶騙中之風雅者也。

  3. 陳雲棲 Chen Yunqi
    真毓生,楚夷陵人,孝廉之子。能文,美丰姿,弱冠知名。兒時,相者曰:「後當娶女道士為妻。」父母共以為笑。而為之論婚,低昂苦不能就。生母臧夫人,祖居黃岡,生以故詣外祖母。聞時人語曰:「黃州『四雲』,少者無論。」蓋郡有呂祖菴,菴中女道士皆美,故云。菴去臧氏村僅十餘里,生因竊往。扣其關,果有女道士三四人,謙喜承迎,儀度皆潔。中一最少者,曠世真無其儔,心好而目注之。女以手支頤,但他顧。諸道士覓盞烹茶。生乘間問姓字。答云:「雲棲,姓陳。」生戲曰:「奇矣!小生適姓潘。」陳赬顏發頰,低頭不語,起而去。少間,瀹茗,進佳果。各道姓字:一,白雲深,年三十許;一,盛雲眠,二十以來;一,梁雲棟,約二十有四五,卻為弟。而雲棲不至。生殊悵惘,因問之。白曰:「此婢懼生人。」生乃起別,白力挽之,不留而出。白曰:「而欲見雲棲,明日可復來。」生歸,思戀綦切。次日,又詣之。諸道士俱在,獨少雲棲,未便遽問。諸女冠治具留餐,生力辭,不聽。白拆餅授箸,勸進良殷。既問:「雲棲何在?」答云:「自至。」久之,日勢已晚,生欲歸。白捉腕留之,曰:「姑止此,我捉婢子來奉見。」生乃止。俄,挑燈具酒,雲眠亦去。酒數行,生辭已醉。白曰:「飲三觥,則雲棲出矣。」生果飲如數。梁亦以此挾勸之,生又盡之,覆琖告辭。白顧梁曰:「吾等面薄,不能勸飲,汝往曳陳婢來,便道潘郎待妙常已久。」梁去,少時而返,具言:「雲棲不至。」生欲去,而夜已深,乃佯醉仰臥。兩人代裸之,迭就淫焉。終夜不堪其擾。天既明,不睡而別,數日不敢復往,而心念雲棲不忘也,但不時於近側探偵之。一日,既暮,白出門,與少年去。生喜,不甚畏梁,急往款關。雲眠出應門,問之,則梁亦他適。因問雲棲。盛導去,又入一院,呼曰:「雲棲!客至矣。」但見室門閛然而合。盛笑曰:「閉扉矣。」生立窗外,似將有言,盛乃去。雲棲隔窗曰:「人皆以妾為餌,釣君也。頻來,身命殆矣。妾不能終守清規,亦不敢遂乖廉恥,欲得如潘郎者事之耳。」生乃以白頭相約。雲棲曰:「妾師撫養。即亦非易,果相見愛,當以二十金贖妾身。妾候君三年。如望為桑中之約,所不能也。」生諾之。方欲自陳,而盛復至,從與俱出,遂別歸。中心怊悵,思欲委曲夤緣,再一親其嬌范,適有家人報父病,遂星夜而還。無何,孝廉卒。夫人庭訓最嚴,心事不敢使知,但刻減金貲,日積之。有議婚者,輒以服闋為辭。母不聽。生婉告曰:「曩在黃岡,外祖母欲以婚陳氏,誠心所願。今遭大故,音耗遂梗,久不如黃省問;旦夕一往,如不果諧,從母所命。」夫人許之。乃攜所積而去。至黃,詣菴中,則院宇荒涼,大異疇昔。漸入之,惟一老尼炊灶下,因就問。尼曰:「前年老道士死,『四雲』星散矣。」問:「何之?」曰:「雲深、雲棟,從惡少去;向聞雲棲寓居郡北;雲眠消息不知也。」生聞之悲歎。命駕即詣郡北,遇觀輒詢,並少蹤跡。悵恨而歸,偽告母曰:「舅言:陳翁如岳州,待其歸,當遣伻來。」逾半年,夫人歸寧,以事問母,母殊茫然。夫人怒子誑;媼疑甥與舅謀,而未以聞也。幸舅出,莫從稽其妄。夫人以香愿登蓮峰,齋宿山下。既臥,逆旅主人扣扉,送一女道士,寄宿同舍,自言:「陳雲棲。」聞夫人家夷陵,移坐就榻,告愬坎坷,詞旨悲惻。末言:「有表兄潘生,與夫人同籍,煩囑子姪輩一傳口語,但道其暫寄棲鶴觀師叔王道成所,朝夕厄苦,度日如歲。令早一臨存;恐過此以往,未之或知也。」夫人審名字,即又不知。但云:「既在學宮,秀才輩想無不聞也。」未明早別,殷殷再囑。夫人既歸,向生言及。生長跪曰:「實告母:所謂潘生,即兒也。」夫人既知其故,怒曰:「不肖兒!宣淫寺觀,以道士為婦,何顏見親賓乎!」生垂頭,不敢出詞。會生以赴試入郡,竊命舟訪王道成。至,則雲棲半月前出游不返。既歸,悒悒而病。適臧媼卒,夫人往奔喪,殯後迷途,至京氏家,問之,則族妹也。相便邀入。見有少女在堂,年可十八九,姿容曼妙,目所未睹。夫人每思得一佳婦,俾子不懟,心動,因詰生平。妹云:「此王氏女也,京氏甥也。怙恃俱失,暫寄此耳。」問:「婿家誰?」曰:「無之。」把手與語,意致嬌婉,母大悅,為之過宿,私以己意告妹。妹曰:「良佳。但其人高自位置;不然,胡蹉跎至今也。容商之。」夫人招與同榻,談笑甚懽;自願母夫人。夫人悅,請同歸荊州;女益喜。次日,同舟而還。既至,則生病未起,母欲慰其沉痾,使婢陰告曰:「夫人為公子載麗人至矣。」生未信,伏窗窺之,較雲棲尤豔絕也。因念:三年之約已過,出游不返,則玉容必已有主。得此佳麗,心懷頗慰。於是囅然動色,病亦尋瘳。母乃招兩人相拜見。生出,夫人謂女:「亦知我同歸之意乎?」女微笑曰:「妾已知之。但妾所以同歸之初志,母不知也。妾少字夷陵潘氏,音耗闊絕,必已另有良匹。果爾,則為母也婦;不爾,則終為母也女,報母有日也。」夫人曰:「既有成約,即亦不強。但前在五祖山時,有女冠問潘氏,今又潘氏,固知夷陵世族無此姓也。」女驚曰:「臥蓮峰下者母耶?詢潘者,即我是也。」母始恍然悟,笑曰:「若然,則潘生固在此矣。」女問:「何在?」夫人命婢導去問生,生驚曰:「卿雲棲耶?」女問:「何如?」生言其情,始知以潘郎為戲。女知為生,羞與終談,急返告母。母問其「何復姓王」。答云:「妾本姓王。道師見愛,遂以為女,從其姓耳。」夫人亦喜,涓吉為之成禮。

    (Not translated by Giles:) 先是,女與雲眠俱依王道成。道成居隘,雲眠遂去之漢口。女嬌癡不能作苦,又羞出操道士業,道成頗不善之。會京氏如黃岡,女遇之流涕,因與俱去,俾改女冠裝,將論婚士族,故諱其曾隸道士籍。而問名者,女輒不願,舅及妗皆不知其意向,心厭嫌之。是日,從夫人歸,得所託,如釋重負焉。合巹後,各述所遭,喜極而泣。女孝謹,夫人雅憐愛之;而彈琴好弈,不知理家人生業,夫人頗以為憂。積月餘,母遣兩人如京氏,留數日而歸,泛舟江流,欻一舟過,中一女冠,近之,則雲眠也。雲眠獨與女善。女喜,招與同舟,相對酸辛。問:「將何之?」盛雲:「久切懸念。遠至棲鶴觀。則聞依京舅矣。故將詣黃岡,一奉探耳。竟不知意中人已得相聚。今視之如仙,剩此漂泊人,不知何時已矣!」因而欷歔。女設一謀:令易道裝,偽作姊,攜伴夫人,徐擇佳耦。盛從之。既歸,女先白夫人,盛乃入。舉止大家;談笑間,練達世故。母既寡,苦寂,得盛良懽,惟恐其去。盛早起,代母劬勞,不自作客。母益喜,陰思納女姊,以掩女冠之名,而未敢言也。一日,忘某事未作,急問之,則盛代備已久。因謂女曰:「畫中人不能作家,亦復何為。新婦若大姊者,吾不憂也。」不知女存心久,但懼母嗔。聞母言,笑對曰:「母既愛之,新婦欲效英、皇,何如?」母不言,亦囅然笑。女退,告生曰:「老母首肯矣。」乃另潔一室,告盛曰:「昔在觀中共枕時,姊言:『但得一能知親愛之人,我兩人當共事之。』猶憶之否?」盛不覺雙眥熒熒,曰:「妾所謂親愛者,非他:如日日經營,曾無一人知其甘苦;數日來,略有微勞,即煩老母卹念,則中心冷暖頓殊矣。若不下逐客令,俾得長伴老母,於願斯足,亦不望前言之踐也。」女告母。母今姊妹焚香,各矢無悔詞,乃使生與行夫婦禮。將寢,告生曰:「妾乃二十三歲老處女也。」生猶未信。既而落紅殷褥,始奇之。盛曰:「妾所以樂得良人者,非不能甘岑寂也;誠以閨閣之身,腆然酬應如勾欄,所不堪耳。借此一度,挂名君籍,當為君奉事老母,作內紀綱,若房闈之樂,請別與人探討之。」三日後,襆被從母,遣之不去。女早詣母所,占其床寢,不得已,乃從生去。由是三兩日輒一更代,習為常。夫人故善弈,自宴居,不暇為之。自得盛,經理井井,晝日無事,輒與女弈。挑燈瀹茗,聽兩婦彈琴,夜分始散。每與人曰:「兒父在時,亦未能有此樂也。」盛司出納,每記籍報母。母疑曰:「兒輩常言幼孤,作字彈棋,誰教之?」女笑以實告。母亦笑曰:「我初不欲為兒娶一道士,今竟得兩矣。」忽憶童時所卜,始信定數不可逃也。生再試不第。夫人曰:「吾家雖不豐,簿田三百畝,幸得雲眠紀理,日益溫飽。兒但在膝下,率兩婦與老身共樂,不願汝求富貴也。」生從之。後雲眠生男女各一;雲棲女一男三。母八十餘歲而終:孫皆入泮;長孫,雲眠所出,已中鄉選矣。

  4. 粉蝶Fen Die
    陽曰旦,瓊州土人也。偶自他郡歸,泛舟於海。遭颶風,舟將覆;忽飄一虛舟來,急躍登之。回視則同舟盡沒。風愈狂,暝然任其所吹。亡何,風定。開眸,忽見島嶼,舍宇連亙。把棹近岸,直抵村門。村中寂然,行坐良久,雞犬無聲。見一門北向,松竹掩藹。時已初冬,牆內不知何花,蓓蕾滿樹。心愛悅之,逡巡遂入。遙聞琴聲,步少停。有婢自內出,年約十四五,飄灑豔麗。睹陽,返身遽入。俄聞琴聲歇,一少年出,訝問客所自來。陽具告之。轉詰邦族,陽又告之。少年喜曰:「我姻親也。」遂揖請入院。院中精舍華好,又聞琴聲。既入舍,則一少婦危坐,朱絃方調,年可十八九,風采煥映。見客入,推琴欲逝。少年止之曰:「勿遁,此正卿家瓜葛。」因代溯所由。少婦曰:「是吾姪也。」因問其「祖母尚健否?父母年幾何矣?」陽曰:「父母四十餘,都各無恙;惟祖母六旬,得疾沉痼,一步履須人耳。姪實不省姑係何房,望祈明告,以便歸述。」少婦曰:「道途遼闊,音問梗塞久矣。歸時但告而父,『十姑問訊矣』,渠自知之。」陽問:「姑丈何族?」少年曰:「海嶼姓晏。此名神仙島,離瓊三千里,僕流寓亦不久也。」十娘趨入,使婢以酒食餉客,鮮蔬香美,亦不知其何名。飯已,因與瞻眺,見園中桃杏含苞,頗以為怪。晏曰:「此處夏無大暑,冬無大寒,花無斷時。」陽喜曰:「此乃仙鄉。歸告父母,可以移家作鄰。」晏但微笑。還齋炳燭,見琴橫案上,請一聆其雅操。晏乃撫絃捻柱。十娘自內出,晏曰:「來,來!卿為若姪鼓之。」十娘即坐,問姪:「願何聞?」陽曰:「姪素不讀『琴操』,實無所願。」十娘曰:「但隨意命題,皆可成調。」陽笑曰:「海風引舟,亦可作一調否?」十娘曰:「可。」即按絃挑動,若有舊譜,意調崩騰;靜會之,如身仍在舟中,為颶風之所擺簸。陽驚歎欲絕,問:「可學否?」十娘授琴,試使勾撥,曰:「可教也。欲何學?」曰:「適所奏『颶風操』,不知可得幾日學?請先錄其曲,吟誦之。」十娘曰:「此無文字,我以意譜之耳。」乃別取一琴,作勾剔之勢,使陽效之。陽習至更餘,音節粗合,夫妻始別去。陽目注心凝,對燭自鼓;久之,頓得妙悟,不覺起舞。舉首,忽見婢立燈下,驚曰:「卿固猶未去耶?」婢笑曰:「十姑命待安寢,掩戶移檠耳。」審顧之,秋水澄澄,意態媚絕。陽心動,微挑之;婢俯首含笑。陽益惑之,遽起挽頸。婢曰:「勿爾!夜已四漏,主人將起,彼此有心,來宵未晚。」方狎抱間,聞晏喚「粉蝶」。婢作色曰:「殆矣!」急奔而去。陽潛往聽之。但聞晏曰:「我固謂婢子塵緣未滅,汝必欲收錄之。今如何矣?宜鞭三百!」十娘曰:「此心一萌,不可給使,不如為吾姪遺之。」陽甚慚懼,返齋滅燭自寢。天明,有童子來侍盥沐,不復見粉蝶矣。心惴惴恐見譴逐。俄,晏與十姑並出,似無所介於懷,便考所業。陽為一鼓。十娘曰:「雖未入神,已得什九,肄熟可以臻妙。」陽復求別傳。晏教以「天女謫降」之曲,指法拗折,習之三日,始能成曲。晏曰:「梗概已盡,此後但須熟耳。嫻此兩曲,琴中無梗調矣。」陽頗憶家,告十娘曰:「吾居此,蒙姑撫養甚樂;顧家中懸念。離家三千里,何日可能還也!」十娘曰:「此即不難。故舟尚在,當助爾一帆風。子無家室,我已遣粉蝶矣。」乃贈以琴。又授以藥,曰:「歸醫祖母,不惟卻病,亦可延年。」遂送至海岸,俾登舟。陽覓楫,十娘曰:「無須此物。」因解裙作帆,為之縈繫。陽慮迷途,十娘曰:「勿憂,但聽帆漾耳。」繫已,下舟。陽淒然,方欲拜別,而南風競起,離岸已遠矣。視舟中糗糧已具,然止足供一日之餐,心怨其吝。腹餒不敢多食,惟恐遽盡,但啗胡餅一枚,覺表裏甘芳。餘六七枚,珍而存之,即亦不復飢矣。俄見夕陽欲下,方悔來時未索膏燭。瞬息,遙見人煙;細審,則瓊州也。喜極。旋已近岸,解裙裹餅而歸。入門,舉家驚喜,蓋離家已十六年矣,始知其遇仙。視祖母老病益憊;出藥投之,沉痾立除。共怪問之,因述所見。祖母泫然曰:「是汝姑也。」初,老夫人有少女,名十娘,生有仙姿,許字晏氏。婿十六歲入山不返,十娘待至二十餘,忽無疾自殂,葬已三十餘年。聞旦言,共疑其未死。出其裙,則猶在家所素著也。餅分啖之,一枚終日不飢,而精神倍生。老夫人命發冢驗視,則空棺存焉。旦初聘吳氏女未娶,旦數年不還,遂他適。共信十娘言,以俟粉蝶之至;既而年餘無音,始議他圖。臨邑錢秀才,有女名荷生,豔名遠播。年十六,未嫁而三喪其婿。遂媒定之,涓吉成禮。既入門,光豔絕代,旦視之,則粉蝶也。驚問曩事,女茫乎不知。蓋被逐時,即降生之辰也。每為之鼓「天女謫降」之操,輒支頤凝想,若有所會。

See also:

This story, in spite of the title, does not mention qin:

  1. 酒狂 (Wine Mad; story concerns Miao Yongding; last story in 卷四 Folio 4)

    繆永定,江西拔貢生。素酗於酒,戚黨多畏避之。偶適族叔家。繆為人滑稽善謔,客與語,悅之,遂共酣飲。繆醉,使酒罵座,忤客。客怒,一座大譁。叔以身左右排解。繆謂左袒客,又益遷怒。叔無計,奔告其家。家人來,扶挾以歸。纔置床上,四肢盡厥。撫之,奄然氣盡。繆死,有皂帽人縶去。移時,至一府署,縹碧為瓦,世間無其壯麗。至墀下,似欲伺見官宰。自思我罪伊何,當是客訟鬥毆。回顧皂帽人,怒目如牛,又不敢問。然自度貢生與人角口,或無大罪。忽堂上一吏宣言,使訟獄者翼日早候於是堂下人紛紛藉藉,如鳥獸散。繆亦隨皂帽人出,更無歸著,縮首立肆簷下。皂帽人怒曰:「顛酒無賴子!日將暮,各去尋眠食,而何往?」繆戰慄曰:「我且不知何事,並未告家人,故毫無資斧,庸將焉歸?」皂帽人曰:「顛酒賊!若酤自啗,便有用度!再支吾,老拳碎顛骨子!」繆垂首不敢聲。忽一人自戶內出,見繆,詫異曰:「爾何來?」繆視之,則其母舅。舅賈氏,死已數載。繆見之,始恍然悟其已死,心益悲懼。向舅涕零曰:「阿舅救我!」賈顧皂帽人曰:「東靈非他,屈臨寒舍。」二人乃入。賈重揖皂帽人,且囑青眼。俄頃,出酒食,團坐相飲。賈問:「舍甥何事,遂煩勾致?」皂帽人曰:「大王駕詣浮羅君,遇令甥顛詈,使我捽得來。」賈問:「見王未?」曰:「浮羅君會花子案,駕未歸。」又問:「阿甥將得何罪?」答言:「未可知也。然大王頗怒此等輩。」繆在側,聞二人言,觳觫汗下,盃箸不能舉。無何,皂帽人起,謝曰:「叨盛酌,已經醉矣。即以令甥相付託。駕歸,再容登訪。」乃去。賈謂繆曰:「甥別無兄弟,父母愛如掌上珠,常不忍一訶。十六七歲時,每三盃後,喃喃尋人疵;小不合,輒撾門裸罵。猶謂穉齒。不意別十餘年,甥了不長進。今且奈何!」繆伏地哭,惟言悔無及。賈曳之曰:「舅在此業酤,頗有小聲望,必合極力。適飲者乃東靈使者,舅常飲之酒,與舅頗相善。大王日萬幾,亦未必便能記憶。我委曲與言,浼以私意釋甥去,或可允從。」即又轉念曰:「此事擔負頗重,非十萬不能了也。」繆謝,銳然自任,諾之。繆即就舅氏宿。次日,皂帽人早來覘望。賈請間,語移時,來謂繆曰:「諧矣。少頃即復來。我先罄所有,用壓契;餘待甥歸,從容湊致之。」繆喜曰:「共得幾何?」曰:「十萬。」曰:「甥何處得如許?」賈曰:「只金幣錢紙百提,足矣。」繆喜曰:「此易辦耳。」待將亭午,皂帽人不至。繆欲出市上,少遊矚。賈囑勿遠蕩,諾而出。見街里貿販,一如人間。至一所,棘垣峻絕,似是囹圄。對門一酒肆,紛紛者往來頗夥。肆外一帶長溪,黑潦湧動,深不見底。方佇足窺探,聞肆內一人呼曰:「繆君何來?」繆急視之,則鄰村翁生,故十年前文字交。趨出握手,懽若平生。即就肆內小酌,各道契闊。繆慶幸中,又逢故知,傾懷盡釂。酣醉,頓忘其死,舊態復作,漸絮絮瑕疵翁。翁曰:「數載不見,若復爾耶?」繆素厭人道其酒德,聞翁言,益憤,擊桌頓罵。翁睨之,拂袖竟出。繆追至溪頭,捋翁帽。翁怒曰:「是真妄人!」乃推繆顛墮溪中。溪水殊不甚深;而水中利刃如麻,刺穿脅脛,堅難動搖,痛徹骨腦。黑水半雜溲穢,隨吸入喉,更不可過。岸上人觀笑如堵,並無一引援者。時方危急,賈忽至。望見大驚,提攜以歸,曰:「爾不可為也!死猶弗悟,不足復為人!請仍從東靈受斧鑕。」繆大懼,泣言:「知罪矣!」賈乃曰:「適東靈至,候汝為券,汝乃飲蕩不歸。渠忙迫不能待。我已立券,付千緡令去;餘者,以旬盡為期。子歸,宜急措置,夜於村外曠莽中,呼舅名焚之,此願可結也。」繆悉應之。乃促之行。送之郊外,又囑曰:「必勿食言累我。」乃示途令歸。時繆已僵臥三日,家人謂其醉死,而鼻氣隱隱如懸絲。是日蘇,大嘔,嘔出黑瀋數斗,臭不可聞。吐已,汗溼裀褥,身始涼爽。告家人以異。旋覺刺處痛腫,隔夜成瘡,猶幸不大潰腐。十日漸能杖行。家人共乞償冥負。繆計所費,非數金不能辦,頗生吝惜,曰:「曩或醉夢之幻境耳。縱其不然,伊以私釋我,何敢復使冥主知?」家人勸之,不聽。然心惕惕然,不敢復縱飲。里黨咸喜其進德,稍稍與共酌。年餘,冥報漸忘,志漸肆,故狀亦漸萌。一日,飲於子姓之家,又罵主人座。主人擯斥出,闔戶逕去。繆噪逾時,其子方知,將扶而歸。入室,面壁長跪,自投無數,曰:「便償爾負!便償爾負!」言已,仆地。視之,氣已絕矣。

Not translated
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