Introduction
(Ming Qing Women’s Writings)
The first article selected is A Conversation with Yao Xian(Yao Xian Xian Hua Ji yao 瑤仙閒話記 ). It is collected in the second half of Xu Yezhao's writing collection. The article presents an engaging discussion that begins with a casual conversation between the writer, Xu Yezhi, and her friend, Yao Xian. Their dialogue soon transitions to a thought-provoking exploration of an intriguing topic in their lives as married women: the practice of their husbands taking concubines. The conversation delves into the dynamics of family structures shaped by the inclusion of concubines, examining the relationships between family members and the conflicts that arise within these complex arrangements. With the intervention of the maid Xiao Jiao, who offers a compelling rebuttal, the conversation deepens further, touching upon the essence of marital relationships. Ultimately, the discussion uncovers the rarity and challenges of true happiness, leading to a more profound understanding of what constitutes a fulfilling life.
(Ming Qing Women’s Writings)
(Ming Qing Women’s Writings)
This selected essay offers insight into a Qing dynasty woman’s understanding of marital relationships and the concept of happiness in marriage, allowing us to explore their perspective on what constitutes happiness. Furthermore, the work provides an opportunity to observe how women of different social standings viewed the same issues, revealing their distinct perspectives and the process of intellectual debate among them. This exchange of ideas offers a valuable glimpse into the thoughts and intellectual engagement of Qing dynasty women.
客瑶仙自遠方來,握手道故,相得甚歡。談論之餘偶及人生之樂事。客曰:閨門之樂惟納妾為子知之乎。 吾曰:知之。盖[1]謂朝夕相依,終身不離而又同甘共苦者。
爾[2]客曰:非此之謂也。益[3]納妾之家,其類有数等。有無子而納者,有子少家富而納者,此皆不藉乎才貌以為樂也。又有輕浮飄蕩之人,恃其才勢多實[4],美妾復喜愠[5]不常,至爭競百端,其悔有不可勝言,亦何樂之有哉?
A guest named Yao Xian came from far away. She shook my hand, and we reminisced about old times, exchanging stories with great joy. We casually talked about the joys of life. The guest said, "The only pleasure in the household is taking concubines, did you know?" "I understand. (You) probably mean someone who stays by your side day and night, never leaves you, and shares all of life's ups and downs with you."
The guest said, "That's not what I meant. There are many types of families that take concubines." "There are those who take concubines because they have no children, and those who do so because they have few children but are wealthy. These people seek pleasure without considering talent or appearance." Some frivolous and drifting people, relying on their talents and status, possess great wealth and many beautiful concubines, often find themselves moody and capricious, leading to constant competition. When they regretfully fail to restrain themselves from speaking out, what joy is there in that?
清 张钊 四季仕女四条屏之四(局部) 浙江省博物馆藏
Qing Dynasty - Zhang Zhao: “Four Seasons Ladies” (Part 4, Detail) Collection of Zhejiang Provincial Museum
[1] 盖, "gài", probably
[2] 爾, "ěr", that
[3] 益, "yì", all the more
[4] 實, "shí", wealth
[5] 愠, "yùn", angry
清 费丹成 设色四季仕女屏·卜凤和鸣(局部)浙江省博物馆藏
Qing Dynasty - Fei Dancheng: “Four Seasons Ladies in Color: Divining Phoenix Harmony” (Detail)
Collection of Zhejiang Provincial Museum
[1] 塵, "chén", the world
[2] 厭, "yàn", lothe
[3] 煖, "nuǎn", warm
[4] 盤桓, "pán huán", linger
[5] 蘊藉, "yùnjiè", be cultured and restrained
[6] 觧, "jiě, "same as “解”, explain
[7] 選, "xuǎn", moral conduct
吾所謂者惟名門佳子弟,性超乎塵[1]俗,厭[2]肥甘輕煖[3]交游聲色之煩。室有賢妻,雅好吟風寫月。
相對于林泉小院,携圖書琴酒于曲欄幽徑間,修竹栽花,分題和韵。於斯時也,得二三美姬,共盤桓[4]于其間,不大添佳興乎?
然此姬也,必研通乎翰墨,否則有一種蘊藉[5]風流之態,飄飄若仙之姿,而文字亦能粗觧[6]其末,且性體溫和善于應對若此者,乃其選[7]矣。盖夫婦妻妾之調,也有如鳴雅樂于皓月清風之下其為樂也孰大于是。
What I speak of are those fine young men of noble birth, with refined and extraordinary temperaments, who do not indulge in extravagant and ostentatious pleasures, nor take delight in rich, sweet food or the noise and clamor of social engagements and sensual entertainment. At home, they have a virtuous wife with elegant tastes, who enjoys composing poetry about the beauty of nature.
Accompanying one another in a small courtyard amidst mountains and streams, with books, a zither, and fine wine, they stroll along winding paths and tranquil walkways, tending to bamboo groves and flowers, composing and harmonizing poetry. In such a setting, having two or three charming ladies as companions to wander together—wouldn’t that add even greater joy?
However, these ladies must also be well-versed in calligraphy and painting. If not, they should at least possess a subtle and refined demeanor, with an air of elegance as light as a celestial being. At the very least, they should be able to grasp the essence of written words, have a gentle temperament, and be skilled in social interactions. Only such individuals would be the ideal choice. The harmony between husband and concubines is like performing elegant music beneath the bright moon and gentle breeze—what joy could surpass such an experience?
言未罄,客随來之婢,名小嬌者率然應聲曰:妾美則形已之,惡[1]其夫必生憐新棄舊之心,何反足以為樂耶?客曰:是非爾所知也。夫苟[2]不賢不拘,何妾皆能奪嫡夫? 既賢矣,雖獲絕色無間[3]也。盖[4]夫婦敵[5]體[6]也譬諸水,夫為海則妻亦河矣,而妾則行[7]潦溝[8]瀆[9]也。
若美妾,則蓮池魚漾[10]也。曾[11]聞以河海之水較清,濁于蓮池魚漾乎?如必欲較之,而反求陋于己是自趨[12]于畢[13]下而不成為正嫡[14]也。
盖夫之貴即妻之貴也。夫之子即妻之子也。然則夫之美非已之美乎,夫之樂非已之樂乎?但此樂也知之者,鮮矣。得之者更鮮矣。
盖不得其境不可以為樂。得之而不遇其人,更不可以為樂。其不亦難哉?
Before the host could finish speaking, a maid named Xiao Jiao, who had accompanied the guest, immediately responded: “If I am beautiful and that beauty belongs to me, but it might cause my husband to develop a fondness for the new and abandon the old. How, then, can beauty be a source of happiness?” The guest(Yaoxian) said, “This is not something you can understand.” If a husband is neither virtuous nor faithful, then how could a concubine so easily win over the rightful wife’s husband? If the husband is truly virtuous, even encountering someone of unparalleled beauty would not create discord. The relationship between husband and wife is equal and can be compared to water. If the husband is the ocean, the wife is the river, while the concubine is merely the roadside puddle or a small ditch.
If she is a beautiful concubine, she is like a fish gliding gracefully in a lotus pond. Have you ever heard of comparing the water of rivers and seas to the water in a lotus pond where fish swim and finding the water in a lotus pond is clearer than the water of rivers and seas? If one insists on making comparisons but instead seeks to lower oneself, it is akin to willingly degrading oneself and failing to become the rightful wife.
The husband’s honour is the wife’s honour, and the husband’s children are also the wife’s children. Then, is the husband’s excellence not also the wife’s excellence? And is the husband’s happiness not also the wife’s happiness? But few people understand this happiness, and even fewer truly experience it.
Without the right circumstances, true happiness cannot be achieved; even with the right circumstances, without meeting the right person, happiness is still unattainable. Is this not truly difficult?
清 费以耕 仕女扇面 浙江省博物馆藏
Qing Dynasty - Fei Yigeng: “Ladies Fan Painting”
Collection of Zhejiang Provincial Museum
[1] 惡, "wù", Disgust; disdain or to dislike; to loathe.
[2] 苟, "gǒu", If; in case; supposing.
[3] 間, "jiàn", In general, it refers to gaps or spaces; in this text, it specifically refers to emotional or relational rifts and conflicts between people.
[4] 盖, "gài", a conjunction that indicates causation or explanation
[5] 敵, "dí", Equivalent, equal in ability or status
[6] 體, "tǐ", Opposed to “用” (yòng). In Chinese classical philosophy, “体” and “用” are paired categories referring to “substance” (本体) and “function” (作用). Generally, “体” represents the fundamental, intrinsic nature, while “用” refers to its external manifestation.
[7] 行, "xíng", Refers to fluidity or temporariness, emphasizing something that is not permanent or fixed.
[8] 溝, "gōu", Refers to a waterway or trench, often a small channel for water flow.
[9] 瀆, "dú", Refers to a ditch or watercourse, typically a larger artificial waterway.
[10] 漾, "yàng", Rippling on the water’s surface or undulating water surface.
[11] 曾, "zēng", Means indeed, actually, or could it be. Often used to express incredulity or rhetorical questioning in classical texts.
[12] 趨, "qū", To move toward or gravitate toward; indicates direction or alignment toward something.
[13] 畢, "bì", Refers to entirely or all at once, emphasizing completeness or totality.
[14] 嫡, "dí", In the feudal patriarchal system, it refers to the primary wife or legitimate spouse.
清 费以耕 仕女册第一开 苏州博物馆藏
Qing Dynasty - Fei Yigeng: “Ladies Album, First Opening”
Collection of Suzhou Museum
[1] 昃, "zè", Refers to the sun declining westward, symbolizing the later part of the day or evening.
[2] 竊, "qiè", Privately or secretly, often used as a humble expression in classical texts.
[3] 錄, "lù", To record or write down, often for the purpose of documentation or transcription.
[4] 化, "huà", Refers to teaching, influencing, or transforming people’s hearts; often denotes moral or spiritual transformation.
[5] 味, "wèi", To appreciate or contemplate, often in the sense of deeply understanding or reflecting on something.
[6] 侔, "móu", Means equal or on par, indicating things are comparable or at the same level.
日中昃[1],客辭去。余追憶其言。竊[2]謂理雖未足,而其一片繾綣之心,忻羨之意,亦深可取也。故錄[3]之以示夫,不及知此之愚人,或有以化[4]爾且細思之,則其言有味[5]。 盖比之晋人之清談殊絕勝,而大不侔[6]也。
At noon, the guest left. I reflected on her words. I privately believe that, although her reasoning may not be entirely sufficient, her deep affection and admiration are indeed commendable. Thus, I recorded these words to share with my husband, keeping them from those ignorant of this reasoning. Perhaps they may inspire some reflection. Upon careful consideration, one can find profound meaning in these words. Compared to the exquisite and unparalleled discourse of the Jin scholars, this indeed falls short and cannot be considered on the same level.
This article reflects on the true joys and sources of happiness in life through an exploration of the relationships between husband, wife, and concubines. It criticizes societal tendencies to value superficial beauty and fleeting vanity, emphasizing that character and inner cultivation are the foundations of family harmony and happiness. By using metaphors of the relationships among virtuous wives, beautiful concubines, and their husbands, the author advocates for equality and mutual respect between spouses. The article argues that true happiness requires the right environment, character, and emotional resonance, which are rarely understood or pursued. Implicitly criticizing the social trends of the time, it promotes a life that values character and inner qualities over external appearances.