"Jin ping Mei" ("Plum Blossoms in a golden vase"), or" Jin, Ping, Mei", is the most original, mysterious and scandalously famous of the great novels of medieval China, probably the first completely created in the XVI century by one author, hiding under the still undisclosed pseudonym Lanling the Scoffer (Lanling Xiao-xiao-sheng), and therefore for more than three hundred years bears the additional or alternative name "Di and Qi Shu" - "The First amazing Book".

Apparently, the first in Russian and quite adequate characteristics of "Jin Ping Mei" were given at the beginning of the XX century in the "Big Encyclopedia" under the editorship of S. N. Yuzhakov: "The novel -" The story of a rich sensualist", can rather be called a fictional biography than a novel, and if it could be translated, he would present an encyclopedia of life in the Middle Kingdom. Its author was probably an outstanding genius: subtlety and consistency in the description of characters, correct description of various social circles and events, amazing and inexhaustible wit, sometimes in the full sense of the word exciting poetry and sincerity; but this work is different (which makes it difficult to translate this work into European languages), along with many others. with long notes, a true passion to draw all the dirt in an unadorned form without hesitation and obscenity " [Bolshaya Entsiklopediya, vol. 10, 1903, p. 790)], - and in the book by V. Grube (1855 - 1908) "Spiritual Culture of China", where it is said that this is a naturalistic moral novel written by the "Chinese Rabelais", which deserves great attention as a cultural and historical document. With a masterful portrayal, full of wit, humor and frivolity, reaching the most brazen cynicism, the book faithfully and frankly depicts a society that has been corrupted to the core " (Grube, 1912, p. 76).

Consisting of 100 chapters and about a million hieroglyphs, the erotic-life-writing novel is dedicated to events related to the plot of another great novel, Shui hu Chuan ("The Legend of River Backwaters" / "River Backwaters") (XIV century) [Shi Nai-an, vol. 1,2, 1955], which happened to 9 hundred people. It was founded in 1112-1127, during the Song Period (X-XIII centuries), marked by the flourishing of traditional Chinese culture. N. I. Konrad (1891 - 1970) qualified this period of Chinese history as a Renaissance, despite the fact that at the same time the state foundations were collapsing under the onslaught of Jurchen barbarians (in the corresponding place name nu-zheng, the first character nu is relevant to the theme and title of the novel - "woman"). It was they who founded the Jin - Golden Dynasty (an obvious allusion is "Jin ping Mei"), which led to the death of the Northern Song in 1127. The novel was written at the end of the Ming era (XIV-XVII centuries), when this culture reached the limit of its development and was again on the verge of collapse under the pressure of descendants of Jurchen conquerors from Manchuria, which in general caused the organic combination of classicism and decadence characteristic of "Jin Ping Mei".

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Despite the fact that during this period such extravagant thinkers and writers as Wang Gen (1483-1541), He Hsin - yin (1517-1579), Xu Wei (1521-1593), Li Zhi (1527-1602) were created, who were publicly called madmen and libertines, and the maximum intellectual tension prevailed However, even some high-minded fans of the Jin Ping Mei, old Chinese scholars who came across an unpublished manuscript of the novel in the early seventeenth century, refused to publish it, hid it under a bushel (Shen Te-fu, 1578-1642) or even offered to burn it (Tung Chi-chang, 1555-1636). considering it absolutely indecent. Officially, Jin Ping Mei was included in the list of banned books under the next Manchu Qing Dynasty (1644-1911), as stated in regularly issued special decrees (1687, 1701, 1709, 1714, 1724, 1725, 1736 In 1869, the Governor-General of Jiangsu Province banned the publication of non-Chinese literature. not only the novel itself, but also its sequels. Until now, the free publication of its full text in the PRC is practically prohibited.

Although all modern Chinese people know the combination of the three characters that form the name "Jin Ping Mei", few of them held in their hands the work itself, and not its alteration or adaptation. At the same time, a powerful arsenal of research and reference literature has been built up around "Jin ping Mei" within the framework of the special scientific discipline "jin xue" ("the doctrine of "Jin [ping mei]"), published in amazing circulations for this genre, reaching tens or even hundreds of thousands of copies [see, for example: Jin ping mei zilao huibiang, 1985/1986]. Suffice it to say that several special dictionaries have already been devoted to it [Bai Wei-guo, 1991/2000; Shi Chang-yu and Yin Gong-hong, 1988; Jin ping mei qidian, 1988; Jin ping mei jiansheng..., 1989; Jin ping mei jiansheng..., 1990]. However, access to the full, uncompressed text of the novel in China is limited not only for a wide range of readers, but also for many specialists.

So far, the autograph "Jin Ping Mei"has not been found. Under these conditions, identifying the authentic text of a novel is complicated by the presence of at least three types of its original editions, which differ in a wide range of differences in amplitude from the actual textual ones to the presence or absence of prefaces, notes, illustrations, and differences in the indication of authorship and titles of the entire work and its chapters.

More than three centuries before M. A. Bulgakov, who noted through the mouth of his hero that "manuscripts do not burn", Li Zhi in 1590 wrote the "Book for Burning" ("Fen Shu"), which was condemned to auto-dafe, but remained intact, and another famous writer, Yuan Zhundao (1570-1623), in 1614 expressed a similar idea in connection with" Jin Ping Mei":" If the book is burned, something will still remain of it " [Jin, Ping, Mei, vol.1, 1994, p. 48; same: Voskresensky, 2006, p. 448]. Nevertheless, the author's manuscript of the novel does not seem to have been preserved, but today experts have samples of a dozen and a half of its various editions, which were published between 1617 and the end of the XVII century. At the same time, it is reliably known on the basis of contemporary testimonies and textual reconstruction data that the total number of publications in the specified period of time was significantly large, although the established figure looks very impressive, given the volume of the text and its nature, which caused even some fans of the book to limit its distribution, and opponents-to ban and extermination.

The work No. 1 of Chinese "obscene literature", in contrast to, say, I. Barkov's "Girl's Toy", circulated in print. To date, his manuscripts are unknown, more ancient than typographic publications. The apogee of this state of affairs is a separate publication of banknotes, known, for example, as an appendix to the Shanghai edition of 1935. Read as an independent text, these approximately 20 thousand characters (which is larger in volume than Confucius-

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eva "Lun Yuya") resemble the experimental prose of some erotic avant-garde artist.

In the complex of general cultural reasons that led to this state of affairs, there was also an economic factor. The cost of the Jin Ping Mei manuscript could exceed the price of a house and a servant by an order of magnitude, and in the first evidence of its appearance at the beginning of the XVII century. it contains an indication of the extreme profitability of printing it.

Apparently, the first (not preserved) printed edition of the book was published in 1610/1611 in Suzhou, as reported by one of the first readers and reviewers of the novel - Shen Te-fu in "Wan-li ye ho bian" ("Extracted in the world [in the period] Wan-li", lit. "Essay on self-willed acquisitions [in the period] Wan-li [1573-1619]") [Jin, Ping, Mei, vol. 1, 1994, p. 50; same: Voskresensky, 2006, p. 449]. In the same place, he noted the absence of 53-57 chapters in the original rewritten by Yuan Zhong-dao, which, however, appeared in the printed edition with traces of another ("fake") authorship and the "Wu" (Suzhou) dialect. Experts admit that this part of the novel, especially chapters 53-54, has come down to our time with significant interpolations. After the research of Nagasawa Kikuya (1948) and Sun Kai-di (1957), who considered the author of" Jin Ping Mei " to be the dignitary and writer Li Kai-hsien (1502-1568), the surviving 15 editions of the XVII century, including one handwritten copy, are usually divided into three groups, the first of which contains the earliest and most complete version. a long version of the novel, and the second and third - a later, abridged and more carefully edited version.

The first group consists of three publications related to the category "tsi-hua" - "narration with poems [ to music] / romances". The oldest of them, almost complete in 10 tsz. and 20 books, dating from 1617/1618, was discovered in Shanxi province in 1931/1932 and acquired by the Beijing Library. In 1933, its photolithographic reprint, with the addition of a three-page copy from Chapter 52 and 200 illustrations from another edition, was carried out on behalf of the" Society for the Publication of Ancient Frivolous Literature " (Gu and Xiaosho Kansin Hui) for subscribers in the amount of 100/120 copies. In Beijing in 1957. it was repeated in two thousand copies, and the third time it was also facsimile and small-scale reproduced in 1989, continuing to be one of the rarities of the special countries of the People's Republic of China. In a typeset version with obscene passages, this text formed the basis of most modern publications, and its original text was returned to Taiwan in 1975 after being moved to the United States due to the war.

In this edition, the main text is preceded by three prefaces, two poetic epigraphs consisting of eight and four ci (poems/romances), and a table of contents [Plum Blossoms..., 1977; the same, 1986; the same, 1993; the same, 1998; Jin..., 1994]. In the titles of the first cycle of poems and the table of contents, the definition of hsin-ke - "newly published" is added to the title of the novel, indicating the existence of an earlier edition. The first preface (xu), which is absent from all other publications and signed with the pseudonym Hsin-hsin-tzu (The Merry Philosopher), says that the" legend/biography "(Zhuan)" Jin ping mei " was created by Lanling Hsiao-hsiao-sheng (The Lanling Scoffer, the Laughing Student from Lanling). Some experts consider both pseudonyms to refer to the same person. Lanling-modern times. Yixian County prov. Shandong, which corresponds to the widespread use of the Shandong dialect in the novel, in which, according to Lu Xin, all his dialogues are written. V. S. Manukhin [Manukhin, 1979; same: Jin..., vol. 1, 1994, p. 34-35] preferred to see this toponym as a symbolic meaning - "intoxicated freethinking", "merry carousing", since Lanlin, like Burgundy or Champagne, is associated with the addiction of its inhabitants to drinking. With such an approach, following D. T. Roy (1981), we can also assume a hint to the most famous Lanling in China - the philosopher Xun-tzu (313/290 - 238/215 BC), who ruled this city and was buried there, glorifying-

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He developed a thesis about the evil nature of man (artistically demonstrated in" Jin Ping Mei " with a description of all kinds of depravity) and at the end of his life declared himself mad. The pseudonym Scoffer (Hsiao-hsiao-sheng) is also used for the text to engraving No. 22 from the late-Chinese synchronous "Jin Ping Mei" erotic album "Hua ying jin zhen" ("Graceful Fights in the Flower Camp"), which was translated and published by R. wang Gulik in 1951.

The second preface - " Conclusion / colophon "(6a) is signed with the pseudonym Niangong (Twenty [dashed], Prince of Twenty), possibly hiding Yuan Hong-dao (1568-1610), which in "Shang zheng" ("Rules of the feast", lit. "Managing cups") defined the novel as a "non-canonical classic" (and dian). In it, the author of the "legend/biography" is called a "major figure" (ju gong) of the Jia-ching period (1522-1566), which coincides with the description of a "great famous man" (da ming shi) in Wan-li ye ho bian ("Obtained in the world [during the period] Wan-li") Shen Te-fu.

The third preface (xu) is signed with the pseudonym Nung-zhu-ke (Guest Playing with a pearl) from Dong-wu (Eastern Wu, i.e. Suzhou), presumably belonging to Feng Meng-lun (1574-1646), and is dated "the last winter month [of the year] of dingsa [period] Wan-li", which lasted from 28.12.1617 to 26.01.1618.

The remaining editions of the first group, located in Japan, differ from the first and are preserved in incomplete form. The next publication of this text closest to the original appeared only three hundred years later - in 1933, and in the three-century period another version, significantly different from this text, dominated. It is represented by the second, most numerous group of publications, generally dating back to the very end of the Ming Dynasty-the Chung-zhen period (1628-1644). These publications are characterized by: division into 20 juans and the presence in the title of the self-definition "newly published" (hsin-ke); the application of "sumptuous illustrations" (xiuxiang) and "critical notes" (pi-ping); minimization of humming rhymed texts and Shandong dialectisms for more, according to Zheng Zhen-do (1898 - 1958), understandable to the inhabitants of southern China; reduction of everyday descriptions, dramatic dialogues and author's appeals; greater orderliness in chapter titles and storylines, as well as other prologues and beginnings. The prologue generally deals with love, rather than the role of women in the destinies of the ancient commanders of the end of the third century BC, Liu Bang and Xiang Yu, and in the beginning, the story does not begin with a retelling of the story of a character in another novel, Wu Song, described in chapters 23-27 of the full (120-main) version of " Shui Hu zhuan", and with the story about the main character Ximen Qing and related episodes present in chapters 10-11 of the "Tsi-hua" variant.

Presumably, the editor of this abridged version was Li Yu (1611-1679?), which is confirmed by his pseudonym Hui-dao-ren (The Man of the Return Journey), which stands under the poem / romance (ci), concluding an introductory volume of 101 illustrations (one to each of the 99 chapters and two to the last) in a 20-volume volume. Hsin-ke hsiu-hsiang pi-ping Jin Ping mei ("Newly published, luxuriously illustrated, with critical Notes, Jin Ping mei"), preserved in the Beijing Metropolitan Library, as well as a direct reference to "the authorship of Mr. Li Li-wen", i.e. Li Yu, in the third group of publications. Of the seven old printed publications stored in the Chinese Woodcuts Collection of the Institute of Oriental Studies of the Russian Academy of Sciences, two (1695) indicate the authorship of Li Liweng (Catalog, 1973, N 2098, 2099).

The best - known edition of the second group is a 36-volume book with 200 illustrations (two for each chapter) from Ma Lian's collection, stored in the Peking University Library. Zheng Zhen-do compared the first 33 chapters of the newly discovered "Ts'i-hua" with him and published the obtained textual results in Shanghai in 1935-1936. They are reproduced in the Taipei edition of Jin Ping mei tsi-hua (1960). A continuation of this work, Zheng Zhen-do was killed in the Japanese bombing of 1937 in 1989.

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the Peking University Press issued a facsimile reprint of Ma Lian's copy, which went on private sale, but, firstly, at an incredible price of about 150 US dollars, which then amounted to several average monthly salaries, and, secondly, only for specialized specialists, i.e. literary and philologists, with a scholar the title is not lower than that of a professor. In the same year, the Shandong publishing house "Qi-Lu shu she" ("Qi-lu Book Society") this text was published in a typeset way.

The third group consists of publications based on the short version of the second group in the editorial office and with extensive notes, comments and a dozen introductory articles (more than 100 thousand characters in total). Zhang Zhu-po (Zhang Tao-shen, 1670-1698), who saw in the novel a complex symbolic construction reflecting the Buddhist concept of suffering (ku, skt. dukha) in the world of the illusory (huan, skt. Maya) transformations (hua) and the Confucian concept of opposing filial piety (xiao). In the last quarter of the twentieth century, Zhang Zhu-po's original commentary and outstanding personality became the subject of detailed research by both Chinese [Jin... 1985/1986; Wu Gan, 1987] and Western scholars [Roy, 1977; Plaks, 1986], which, in particular, was stimulated by the discovery in 1984 of his biography, which was created by the author of the book of the same name. in 1721, his younger brother, Zhang Dao-yuan [see the Russian translation of D. N. Voskresensky together with two of his introductory articles to the" Jin Ping Mei": Jin, Ping, Mei, vol. 2, 1994, pp. 467-473; Voskresensky, 2006; English translation of some of the articles, including the most important one more on the" reading method " (du fa) of the novel: Roy, 1977; Chang Chu-p'o..., 1990). The first such edition, in which the novel is called" The First Amazing Book "("Di and qi Shu") and there is no division into juani, was published in 1695, which, in particular, follows from the preface (Russian translation by D. N. Voskresensky) [see: Jin, Ping, Mei, vol. 1, 1994], signed by Xie Yi from the Cabinet of the Swamp Crane (Gao-he-tang), identified with Zhang Chao (1650-ca. 1703).

In the same place, the author of the novel is named as the famous dignitary and writer Wang Shi-zhen (1526-1590), i.e. the assumption first expressed by Song Qi-feng in the 70s of the XVII century in "Bai Sho"is confirmed ("Small Stories") and was considered to have revealed Shen Te-fu's allusion to the "great famous husband". Hence the legend that Wang Shi-zhen created this book for the specific purpose of ridiculing or even killing (naturally feeding its pages with poison) the destroyer of his father - a major dignitary Yan Shi-fan (1513-1565), allegedly bred in the image of Ximen Qing; the son of the all-powerful grandee Yan Song (1480-1565), the prototype of Tsai Ching, or the famous writer and scholar Tang Shun-zhi (1507-1560). This legend is also due to the traditional dating of the novel's writing in the 60s of the XVI century.

Two similar publications with authorship by Li Yu were reproduced in the Hong Kong (Hong Kong) 8-volume edition in 1975. A 20-volume reissue with similar attribution of authorship, issued by the Cabinet of Local Presence (Tsai-tsitang), was published in Taipei in 1981. A 36-volume edition of this type with 200 illustrations, published by the Main Residence Press (Ben ya Tsang Ban), was reprinted in 1987 by the Chinese Book Society in a typeset form and with abbreviations.

In general, according to some experts (for example, Ono Shinobu: [Ono Shinobu, 1963], Russian translation see: [Jin, Ping, Mei, vol. 3, 1994, pp. 474-488]), the short version is a product of processing a lengthy one, according to others [for example: Napap, 1962; Wrenn, 1967], - both separately derived from the lost original. In the conclusion/colophon of Xie Zhao-zhe/zhi found in 1979 [see D. N. Voskresensky's translation: Jin, Ping, Mei, vol. 2, 1994, pp. 473-475; Voskresensky, 2006], it is possible that such a manuscript consisting of several million words in 20 juans is reported.

From the very beginning, illustrations specially marked in the titles, one or two related to the short version, began to play a significant role in publications of the short version.

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each chapter and separated by text or combined in a separate volume. In the first modern edition of Tsi-hua (1933), the earliest set of 200 highly artistic graphic illustrations, created at the end of the Ming Era and present in the second group of publications, was added to the oldest text, about a quarter of which were of an openly erotic nature. These illustrations have been reproduced in full in Germany (translated in German by F. Kuhn with commentary by B. L. Riftin) [see: Kin Ping Meh..., 1988] and in France (translated in French by A. Levy) [see: Fleur en Fiole d'Or..., 1985] and partially - in the Russian edition (translated by V. S. Manukhin) [Plum Flowers..., vol. 1, 2, 1977/1986/1993]. On 19 engravings (to ch. 1, 2, 4, 7, 22, 30, 31, 35, 37, 38, 41, 44, 46, 47, 48, 59, 64, 82, 83) the names of six carvers are captured: Huang Zi-li and Huang Ruyao from the famous Among the best book illustrators are Huang, Liu Qi-hsien and Liu Ying-tzu, Hong Guo-liang and Xuan Miao.

The most artistically sophisticated, originally, apparently, multi-colored and equally erotically explicit set of 200 anonymous illustrations, created in the Qing era (mid-XVII-early XX centuries) and became known as "Two Hundred beautiful paintings from the jewels of the Qing Palace" ("Qing Gong zhen bao bi mei Hua"), It was preserved only in a black-and-white photolithographic copy of the early 20th century and was reproduced in the 1935 edition of Jin Ping Mei edited by Shi Zhecun, and also partially, with notes of erotic images, in the special edition of Qing Gong zhen bao bi Mei Hua in China (Taiyuan, 1993). For the Russian reader, most of these illustrations (126 to the 63rd chapters) without any exceptions, but in graphic drawing, are available in the unfinished (hence the incompleteness of the set) edition of the novel in 1994, and a small purely erotic selection of them-as close as possible to the original form accompanies the publication of two (51st and 52nd) editions.j) his complete chapters (for the first time uncensored) in the scientific and artistic collection "Chinese Eros" [see: Chinese Eros, 1993].

Jin Ping Mei has been published at least forty times in China over the course of approximately four centuries of its existence. To this we can add a list of translations into more than a dozen foreign languages, the first of which was Manchu (1708) [see the translation into Russian by D. N. Voskresensky of the Chinese preface signed with the pseudonym Gu-gu: Jin, Ping, Mei, vol. 1, 1994, pp. 53-56; Voskresensky, 2006], made, according to legend, by a prince of the blood, one of the brothers of the Kangxi Emperor (1662-1722), and served as the basis for the Mongolian translation. The novel has been translated from the original Chinese source into Japanese, Vietnamese, and Malay. The Tsi-hua version was first translated almost entirely into Japanese by Ono Shinobu and Chida Kuichi and published in Tokyo in 1959-1960, after which it was reprinted several times in three and ten volumes [see, for example, Kimpebai..., 1973 - 1975]. Its complete Japanese translation in 4 volumes was also carried out by Okamoto Ryuzo and published in Tokyo in 1971 [see reprint: Kimpebai tsengyaku, 1979].

The first translation in the West was the French one [Soulie de Morant, 1912], which was very shortened and smoothed out, but it was, however, the basis for a number of other Western translations, in particular in English: The Adventures..., 1927; The Harem..., [S. d.]; The Love Pagoda..., 1968. Also, a nearly half-truncated translation from the 1695 edition came from the pen of the brilliant German translator F. Kuhn (1884-1961) in Leipzig in 1930. It was so successful that it was reprinted many times, and was translated into English, French, Dutch, Italian, Swedish, Finnish, and Czech, and the English translation by B. Miel with a preface by A. Whaley (1939) and the French translation by J.-P. Poret with a preface by P. Lavigne (1949) were also reprinted many times. The first complete translation of the novel from the Chung-zhen period appeared in German, the first two volumes of which were published by the brothers Otto and Arthur Kibat in Gotha in 1928 and 1932. With the advent of the fascist regime from-

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The publication was interrupted and in the form of a 6-volume book (with a separate volume of notes) was published in Switzerland (Zurich, 1967 - 1983). Significantly smaller in volume, but twice as large as that of F. An almost complete English translation (with obscene passages in Latin) in 4 volumes was published in London in 1939 by F. K. K. Edgerton, who used the advice of the famous writer Lao She, who taught Chinese at the University of London in 1924-1930. In the New York edition of 1972, the liberties hidden in Latin were covered in English with the help of J. M. Franklin. The project of publishing the first English translation of Ts'i-hua with commentaries in 5 volumes is being implemented at Princeton University by the American sinologist D. T. Roy (born in 1933), who has now published three volumes (1993, 2001, 2006), and previously studied the comments of Zhang Zhu-po and submitted them to the dedicated "Jin ping Mei " conference at Indiana University (USA, Bloomington, 12.05.1983) report with arguments in favor of the authorship of the novel by the famous playwright Tang Hsien-tsu (1550-1616).

In Russia, according to B. L. Riftin, in the 1950s G. O. Monzeler (1900-1959) began translating the novel, but soon died. At the same time, it was taken up by V. S. Manukhin (1926-1974), who in 1969 completed the first in the West almost complete translation of the version of "Tsi-hua" with a volume of about 100 a. l. This work in 2 volumes with a preface by B. L. Riftin and with the participation of L. P. Sychev, breaking through the censorship slingshots of Glavlit and the Chinese studies sub-department of the Central Committee of the CPSU, halved, with cut fragments, half retold by the publishing editor S. V. Khokhlova, was published only three years after the translator's death, in 1977, and then in the same emasculated form was reprinted in 1986, 1993 (in one volume) and in 1998 After the pilot publication of two restored and revised versions. revised chapters of "Tsi-hua" [see: Chinese Eros, 1993] also edited by A. I. Kobzev launched a complete edition of the translation of V. S. Manukhin with filling in the gaps left by him and academic application of detailed notes, comments and research works of domestic and foreign authors. However, work on the publication was interrupted in the third volume, covering about three-fifths of the text, which, in particular, was associated with the death of one of the participants in this project - V. S. Taskin (1917-1995). As a result, the palme d'Or in publishing the full text of "Tsi-hua" in European languages was transferred to the excellent French two-volume book translated by A. Levy [Fleur en Fiole d'Or..., 1985] with a preface by R. R. Tolkien. Eti'emble in the series of world classics "Bibliotheque de la Pleiade", which opens with the Bible and the Koran.

"Jin Ping Mei" is a world masterpiece of the highest category, a book that can be put on a par with the poems of Homer, "The Divine Comedy", "Gargantua and Pantagruel", Shakespeare's plays, "Don Quixote". In the genre aspect, the Chinese work is also able to compete with each of these masterpieces of the West, since it combines the qualities of a novel, a poem and a drama. As a matter of fact, the genre qualification of "Jin Ping Mei" as a novel is rather conditional. This is a synthetic form of the highest degree of complexity, which, with the simplest differentiation, is a strictly organized combination of more than a thousand poetic texts that form their own hierarchy in categories and degrees of regularity, turning at the limit into rhythmic prose, dramatic dialogues that set the architectonics of individual chapters and are accompanied by the necessary remarks, and prose (in the maximum amplitude from everyday writing to paraphrases of Buddhist canons and scientific treatises).

Devoid, on the one hand, of the psychologism of the classical Western novel, and on the other, of the moralizing purism of the classical Eastern novel, the objectivist-descriptive, "behavioristic" style of "Jin Ping Mei" creates a paradoxical sense of modernism, because it is in harmony with the latest anti-aesthetic ideas.,

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sensualizing tendencies that prevailed in the West after the communication revolution of the second half of the 20th century. Using modern vocabulary, we can call "Jin Ping Mei" the first "soap opera" in 100 episodes, i.e. chapters - " hui " (in full accordance with the genre of the series, the word literally means "repeated actions"). Most of the poems given in Jin Ping Mei are intended to be performed to music, and they are accompanied by references to the corresponding melodies. Moreover, an indication of the song genre of tsy is contained in the very name "Jin ping mei tsy-hua". This multi-layered text can simultaneously play the role of a scientific reference book on almost any socio-economic and cultural aspects of the life of Chinese society in the Song and Ming eras, i.e. the entire first half of the 2nd millennium AD.

Such a combination of incongruities would be best described as an encyclopedia of Chinese life in the Middle Ages. Here "encyclopedicness" is an element of scientific definition in comparison with the poetic hyperbole of the similar attestation of "a novel in verse" by A. S. Pushkin. A whole series of historical dissertations can be written on the basis of the diverse factual data contained in the Jin Ping Mei. And the endless details of descriptions of dishes, clothing, interiors, etc. that amaze the Western reader are associated not only with reference and encyclopedic literature, but also with scripted remarks, giving rise to a strange feeling that this work was intended by God himself for film adaptation and prepared for implementation in a television series even before the invention of television and even cinema.

As if anticipating the" end of the beautiful era "of the Ming," Jin Ping Mei " was the first author's novel in China, i.e. it represented the first completely original example of the highest form of literary creativity, which mysteriously coincided in the time of its appearance with the works of such apostles of Modern European literature as Shakespeare and Cervantes. And just as with these glorious names, there is a problem of authorship associated with it. On the one hand, its nameless author is called the " famous husband "(ming shi) of his time and the "venerable scholar" or " old Confucianist "(lao zhu), and among its possible creators are the greatest writers of China of the XVI-XVII centuries. On the other hand, the opposite opinion is expressed about the unknown author, a representative of the lower classes of society, and the commoner, the blind storyteller Liu Shou (Liu the Ninth), is called as a contender for authorship. The list of candidates for this role now covers about four dozen names. It includes such famous figures as Wang Shizhen, Li Yu, Li Zhi, Xu Wei, Li Kai-hsien, Tang Hsien-zu, Shen De-fu, Jia San-jin (1543-1592), Tu Lun (1542-1605), Feng Meng-lun, Xie Zhen (1495-1575), Li Hsien - fang (1510-1594), and others. At the same time, some experts (Pan Kai-pei, 1954; Xu Sho-fang, 1984) argue that "Jin Ping Mei" is not an original creation of one genius, but a product of collective creativity - a conglomerate of heterogeneous texts performed to musical accompaniment by wandering readers and later processed by enlightened writers.

As is often the case in Chinese literature, the title of the novel is not the only one. It is known under the titles "The First Amazing Book", "The fourth of the four great amazing books", "One of the Eight literary masterpieces", "Mirror of Polygamy", etc. But, of course, his main name is the mysteriously ambiguous "Jin ping mei", even exotically deciphered as a pun built on a hieroglyphic homonymy: "Now I criticize Mei [Guo-zhen, 1542-1605]". In the text of the novel itself, one can see some lexical grounds for interpreting this name as an abbreviation of the names of three of its heroines-Jin-lian, Ping-er and Chun-mei. For example, in the final poem, Pin-er and Chun-mei are denoted by the binomial Pin-Mei.

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This interpretation of the title "Jin Ping Mei" was stated as early as 1614 by Yuan Zhong-dao based on reading half of an unpublished manuscript. The same point of view is reflected in the preface of Nung-joo-ke, according to which these three heroines are identified by the title as the personifications of vice, sin and debauchery. However, in such a motivation, the question that inevitably arises is confusing: why exactly are they assigned such a role? After all, the pages of "Jin Ping Mei" are full of carriers of these qualities. And even in the minimal set of those presented in the aforementioned final summary of the novel, the main character Ximen Qing and his son-in-law Chen Jing-ji also appear. The elimination of Ximen Qing from the title "Jin Ping Mei" is reminiscent of the beheading of D'Artagnan in the title "The Three Musketeers". A certain compensation can be seen in the curious suggestion of A. Levy (1985) that the jargon meaning "penis", which is inherent in the character " hua "from the binomial " Tsy-hua", turns the full title of the novel that includes it into an image that fully corresponds to the plot, depicting the adventures of a male oud, like N. V. Gogol's "Nose" or the "Gardens of Priapus" by A. I. Vasinsky. But another question is more interesting: why did only female individuals receive a direct title name? Continuing the analogy, we can conclude that the situation here is as if the " Three Musketeers "were called"My Lady, the Queen and Madame Bonacieux". To explain the noted oddity of shading the main character and even the entire male sex, it will be necessary to recognize that the names brought to the fore have more than just nominative semantics, generically pointing to the feminine yin as a universal source of destruction. Further, it should be assumed that the first-class significance of the names Jin-lian, Ping-er and Chun - mei is due to the special meaning of the hieroglyphs themselves, which reveal the same triad of categories - "vice", "sin", "debauchery", which was written by the Guest Playing with the pearl.

The name Pan Jin-lian is a transparent reminder of a historical anecdote about the origin of the custom of bandaging women's legs. The ruler of the Qi - Tung-hun-hou dynasty (498 - 501) ordered the ground to be covered with gold lotus petals, so that his concubine Pan-fei could dance on them. At the same time, he exclaimed enthusiastically, "Every step she takes gives birth to a lotus." Hence the expression "golden lotus" (jin lian). as a designation for a bandaged female leg. The latter was considered one of the most attractive sexual objects in traditional China. The direct meaning of the name Pin-er- "bubble", "bottle" - is quite clearly connected with the kteic symbolism and the inevitable sinfulness of this "vessel" of evil, endowed with an opening leading to hell. Finally, in the binomial Chun-mei, the hieroglyph chun ("spring") is one of the main terms defining the entire erotic sphere with all its obscenities, and mei ("plum", "apricot mume") - a symbol of both the romantic origin of sensuality-a plum blossoming in spring, and frank sexuality, prostitution, along with its shameful end - the "blooming" chancres of syphilis.

Thus, three full female names can symbolically convey the idea of extreme sexual promiscuity, which has become a mortal sin. However, it seems that the hieroglyphic triad of jin, ping, and mei is intended to denote not three varieties or aspects of one vice, but three different vices, i.e., greed, drunkenness,and lust. A definite confirmation of this can be found in the use of "four romances (ci) about addictions" as a poetic epigraph to "Jin Ping Mei": "Drunkenness", "Lust", "Greed", "Arrogance".

The appearance of the fourth element here is probably primarily a formal result of attracting a quaternary poetic structure. However, from a substantive point of view, the last "romance", by analogy with the thesis "Pride is the mother of all sins", can be considered a structural element of a higher order, i.e. a kind of generalization, especially since it is entitled with the chi hieroglyph, which has the most general psychosome-

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the specific and even cosmological meaning is "pneuma", and therefore can express here not only a separate vice of arrogance or anger, which, according to the Taoist classic Chuang Tzu (IV century). B.C.), "confuses the heart", but also universal spiritual and moral defectiveness. This is exactly what Wang Yangming (1472-1529), the greatest Ming philosopher and creator of the intellectual prerequisites for the emergence of the "Jin Ping Mei", had in mind when he claimed that "the crimes of pride are innumerable."

In connection with the formal aspect mentioned, it is worth noting that "Jin Ping Mei" is one of the" four great amazing books " (si da qi shu), i.e. the most outstanding novels in the history of traditional Chinese literature. The other three are "Description of the Three Kingdoms" / "Three Kingdoms" ("San-guo zhi") [Lo Guan-zhong, 1954], "Legend of the River Backwaters" / "River Backwaters" ("Shui-hu zhuan") [Shi Nai-an, 1955] and "Notes on a Journey to the West" / "Journey to the West" ("Si-yu ji") [Wu Cheng-en, 1959]. Subsequently, they were joined by "Dream in the Red Chamber "("Hong-lou meng") [Cao Xueqin, 1958]. In addition to the absolute value-content validity of creating such an association, there is also a clear formalizing moment that is so characteristic of the Chinese mentality and its numerological methodology (xiang shu zhi xue).

First, on the surface lies the fact that the original titles of all five "amazing books" given in the transcription consist of three hieroglyphs, revealing the well-known textual and general methodological structure of the "triads and fives" (san wu). Here, all ternary combinations of hieroglyphs are subject to the formula 2+1, which is reflected in the transcriptions of names using a hyphen. In other words, the first two characters form one semantic unit, and the last one - another. This formal observation suggests that the Russian translation's interpretation of the novel's title as a phrase is based on the formula 2+1 ("Jin-ping mei" = "[Flowers] of plums [in] a golden vase", where "golden vase" = jin ping = 2, and "[flowers] of plums"). = mei = 1) owes its statement to a cliched analogy with the names of other masterpieces of Chinese literature, which together with it are standardly abbreviated to binomials "San Guo", "Shui hu", "Xi Yu", "Jin Ping", "Hong Lou" and fit into a five-term scheme. Moreover, the closest and most productive analogy here is of a retrospective nature, referring to the title of the later written "Dream in the Red Chamber".

Secondly, the classical Chinese novels arranged in a fivefold matrix already lead to the idea of the "five elements" (wu xing) at a new, higher level, which, obviously, can be correlated with them element-by-element. In principle, any five-or four-term complex in traditional Chinese culture is explicitly or implicitly related to the scheme of five elements, which can be reduced to a quaternary with an implied central term, such as" the four countries of the world " (si fan). In the titles of all five "amazing books" in the first place are hieroglyphs that directly denote any of the five elements or its standard correlate. In the most convenient spatial schematization, the novels can be arranged as follows: "Description of the Three Kingdoms" / "Three Kingdoms" - in the east (the number 3 corresponds to the tree and the east), "Dream in the Red Chamber" - in the south (red color is an attribute of fire and the south), "Legend of river backwaters" / "River lakes". backwater", which begins with the sign "water", is naturally in the north, and "Jin ping Mei" with the initial sign "metal / gold" - in the west. It seems even more natural to relate the "Notes on a Journey to the West" / "Journey to the West" to the west, which creates a problem of duplication, but allows for a general solution due to the fact that the subsystem of five elements has a six-membered mode, in one of the variants of which a certain element is doubled.

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From a historical point of view, it can be assumed that "Jin Ping Mei", correlating with three elements at once - metal, water and wood, was presented as a synthesis of all three "amazing books" that preceded it chronologically, which correlate precisely with these elements (about a different, but by no means contradictory interpretation of such a triplicity of " Jin Ping Mei"the Wu xing system says further). In the light of this hypothesis, it seems quite natural for the next "amazing book" to appear with the title "Dream in the Red Chamber", which correlates it with an unoccupied position in the south.

The positional duplication of" Jin Ping Mei "and" Notes on a Journey to the West " / "Journey to the West" indicates that their names and symbols are encoded with a special closeness and at the same time opposite, since the latter implies comparability and, consequently, uniformity of phenomena. It is in these novels from the five under consideration that the same number of main links of architectonics is equal - one hundred chapters in each. The main characters of "Journey to the West", as well as the characters of "Jin Ping Mei", are coordinated with five elements. Here, this connection is more than transparent, since it is determined by the very fiveness of the company of heroes-travelers (including, of course, the horse). The ideological basis of both works is a certain understanding of Buddhism. In physical terms, the attitude towards it in the" Notes on a Journey to the West " / "Journey to the West" is expressed as the movement of its heroes, led by the Buddhist monk Xuanzang, to India, i.e., to the homeland of this teaching. Moreover, the central figure of the novel is the magic monkey Sun Wu-kun, the owner of a wonderful wand. On the other hand, the initial thrust of the climactic plot plot in Jin Ping Mei is set by the opposite movement from west to east, i.e., the arrival of a Buddhist monk from India, who gave the main character Ximen Qing a miraculous erotic drug (aphrodisiac), which, as if in reverse metaphorical perspective, turned his phallus into the mighty rod of Sun Wu-kun and into the ultimately leading to his demise. In the first novel, a child-bearing oud that turns into a magic wand when traveling to wonderland (India) is salutary; in the second, on the contrary, a magic wand from wonderland that turns into a child-bearing oud is disastrous.

The very speaking surname Si-men-literally translated "West Gate" - indicates the side of the world from which the wind blew, turning the wheel of plot rotations. In turn, the novel's definition of the place of action that received a western impulse "through the Western Gate" as "east" is emphasized by its main place names: general-Shan-dong (province) and private-Dong-ping (region), which directly include the character dong ("east") and which, in fact, denote the eastern territory of China. Similarly, the movement from west to east is reflected in the marked symbolism of the five elements, each of which has its own standard spatial localization: wood-east, fire-south, metal-west, water-north, soil-center. Accordingly, in the order of the jin-ping-mei hieroglyphs that make up the title of the novel and represent the elements: metal-water-wood, an indication of movement from west to east, bypassing the north, is encoded.

The entire content of "Jin Ping Mei" is a detailed illustration of the indissoluble connection between Eros and Thanatos. The legend about the origin of the novel as an instrument of blood feud is also symbolic. Along the way, this tradition explains in its own way the absence of the original manuscript so far. In accordance with this tragic symbolism, the manuscript of Zhang Zhen-do also perished and the ascetic work of V. S. Manukhin, who prophetically noted in a posthumous publication that "a curse hung over Jin Ping Mei for centuries "(Manukhin, 1979, p. 124; Jin, Ping, Mei, vol. 1), has not yet been fully published., 1994, p. 29]. The "complete collection" of the brilliant graphic illustrations by Cao Han-mei (Zhang Mei-Yu, 1902 - 1975), first published in Shanghai in 1942, also remains incomplete (which has reached the beginning of Chapter 36) [Jin ping mei hua ji, 2003].

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The earliest attempt to continue the "Jin Ping Mei" is again attested by Shen Te-fu, who noted its existence in the early 17th century. another book by the same "famous husband" and with the same characters under the structurally similar and equally ambiguous title "Yu Jiao li", or "Yu, Jiao, Li" ("Captivating, [like] jade, plum", or " [Meng] Yu [- low, Li] Jiao[-er], Li [Ping-er]"), which, however, quickly disappeared and has not been preserved to this day (there is another, later and repeatedly translated novel in the West with a similar title, differing in the last hieroglyph-homonym: "Yu Jiao li", or " Yu Jiao Li"- "Captivating, [like] jade, pear", or "[Bai Hong -] yu draws [Lu Meng -] li into love"). But already in 1661, the work of Ding Yao-kang (1599-1669) appeared with the transparent title " Xu Jin Ping Mei "("Continued Jin ping Mei", 64 chapters). In 1665, it was banned, and the author was imprisoned for 4 months. Later, two more sequels were compiled from it by anonymous writers: "Ge lian Hua ying "("Shadows of flowers behind the curtain", 48 chapters, late XVII century, German. and fr. per. f. Kun, 1956, 1962) with a preface by a likely compiler under the pseudonym Si-qiao ju-shi (Hermit / layman/upasaka of the Four Bridges), who removed the politically dangerous parallels between the struggle of the Jurchen Jin with the Han Song and the Manchu Qing with the Han Ming, and " Jin wu Meng "("Dream in the Golden House", 60 chapters, 1912), also clearly alluding to the "Dream in the Red Chamber" and processed by a certain Meng Bi-sheng/Meng-bi-sheng (lit.: Master of recording dreams), who, after comparing the two previous texts, reduced the religious passages about retribution. All three novels with precisely marked notes of obscene places were published in 2 volumes in Jinan in 1988. The famous Japanese writer Takizawa Bakin (1767-1848) remade the novel into a story about his compatriots called "New (lit. newly composed) "Jin ping mei" ("Xinghen Kimpebai").

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Jin, Ping, Mei or Plum Blossoms in a golden vase / Translated by V. S. Manukhin et al., comp. by A. I. Kobzev. Vol. 1-3. Irkutsk, 1994.

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