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265:. However Fu Caiyun is in fact an image of the woman who had committed suicide. Jin Wenqing makes Fu Caiyun his concubine. Over the course of the novel, a pattern of retributions, specifically Buddhist-style retributions, occur against Jin Wenqing, punishing him for his actions. Jin Wenqing becomes a diplomat and travels to Europe. There he is unsuccessful as a government minister and does not grasp the world outside of China. Meanwhile, Fu Caiyun, who cheats on him, wins favors of several royal families, including
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magazine in 1907. These chapters were intended to be in a third volume but this volume was never published. In 1928 Zeng Pu reworked the novel into a thirty chapter version and published this version. Ultimately Zeng Pu completed the novel, transforming it into historical fiction. Zeng Pu argued
272:
Jin
Wenqing returns to China and then falls into disgrace. When he dies, everyone around him has abandoned him. Fu Caiyun runs away from Jin Wenqing's family after his death. At the end of the story Fu Caiyun is engaged in a relationship to a Beijing opera singer. Ultimately the novel was never
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wrote that the five Jin Tianhe chapters "concentrate too much on the protagonist, so they at most describe an extraordinary courtesan, and along with her, a number of historical anecdotes." Zeng Pu stated that if the original conception of the novel succeeded "it would be no more than the
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is obviously a roman à clef. It is built on two main story lines, one concerning the activities of
Chinese revolutionaries, the other being the love affair between the bureaucrat and diplomat Jin Wenqing and the courtesan Fu Caiyun. Jin is modelled upon Hong Jun, 1840-1893, a
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wrote that Jin
Wenqing is "as much a cuckold in the bedroom as he is a dupe in the councilroom." The author added that "The bedroom comedy between" Jin Wenqing and Fu Caiyun "may well be read as a political satire, pointing to the impotence and corruption of the late Qing
585:. Cordell D. K. Yee's review of the book argues that Li's essay shows "little evidence of symmetrical design, or even "dramatic" structure" and "seems to lose sight" of the argument stated, that the analysis process became "almost an end in itself".
347:
In 1904 Zeng Pu took control of the novel. Subsequently, the first two volumes of the novel were published by the Grove of
Fiction publishing company in 1905. Each of these volumes contained 10 chapters. Four additional chapters were serialized in
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508:
523:, wrote that this was "another symbol of the Chinese man's endemic failure to understand China's need to adapt." David Wang stated that Fu Caiyun is "a highly dynamic character" who is "never a pure, virtuous woman." Liu Jianmei, author of
1125:. "Jin Wenqing is Hong Jun (1840–93) in real life, and a zhuang- yuan of 1868. Fu Caiyun, the prominent female character of the novel, is modelled after the famous courtesan, Sai Jinhua (1874–1936), whose fame became especially widespread"
569:. argues that the "architectonic" construction and "incremental dramatic development" are the two principles within the novel's structure. Li discusses the protagonist, the setting, foreshadowing within the story, and the general plot.
261:". In the main story, Jin Wenqing breaks a promise to marry someone, and this leads to the woman committing suicide. Twenty years later, Jin Wenqing, a high official enjoying a luxurious life, gets into a relationship Fu Caiyun, a
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wrote that "Although Zeng Pu was an avid reader of French literature in the original, the influence of his
Western models on NHH comes out most clearly in the transformations of traditional Chinese motifs."
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The revised novel describes the upper class of China resident in
Beijing and Shanghai during final 25 years of the 19th century and compares the fate of the said upper class to that of Jin Wenqing.
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that has a population of ignorant people who party and have savageness. This is sinking into the ocean, but island's residents die without realizing that the lack of air is killing them.
257:, the author of "Chapter 38: Fiction from the End of the Empire to the Beginning of the Republic (1897–1916)", wrote that "the prolog foretells the theme of the whole novel by a
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wrote the original five chapters of the project. It was originally a political novel criticizing
Russian advances into China. Two of the chapters were published in
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that in his conception "the protagonist functions as the thread which I attempt to link together the history of the past thirty years."
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The novel indirectly criticized the Qing
Dynasty government and promoted the values of democracy. The author uses the motif of the
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who becomes Jin
Wenqing's concubine. She is in fact an image of a woman who was wronged by Jin Wenqing. Fu Caiyun cheats on him.
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379:"Novel Collection"). The chapters did not appear in consecutive issues, but instead were published in a sporadic manner.
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Revolution Plus Love: Literary
History, Women's Bodies, and Thematic Repetition in Twentieth-Century Chinese Fiction
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Revolution Plus Love: Literary History, Women's Bodies, and Thematic Repetition in Twentieth-Century Chinese Fiction
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notes that Li's essay "appears to be an early version of an essay a longer version of which forms Chapter 4 of his
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In the revised version by Zeng Pu, the prolog describes an "Island of Happy Slaves" attached to the city of
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461:. Jin Jun is intended to represent a late Qing politician, being either a model or a caricature of such.
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than her husband did in the portions regarding foreign customs and languages. Keith McMahon, author of
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103:(also written as Tseng P'u). First published in serial installments beginning in 1904, the work is a
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685:. "Chapter 38: Fiction from the End of the Empire to the Beginning of the Republic (1897–1916)" in:
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finished. The table of contents of the novel states that Fu Caiyun will reunite with Count
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Session 24: Stepping Out: Textual Uses of Transgression by Women in Late Imperial China
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Hegel, p. 190. "although traditional reliance on Buddhist retribution does reappear in
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242:, a courtesan, travels to the west with her husband, a scholar. They meet Russian
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Yee, Cordell D. K. "The Chinese Novel at the Turn of the Century" (book review).
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in order to create a reflection of the intelligentsia in the late Qing Dynasty.
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Hegel, Robert E. "The Chinese Novel at the Turn of the Century" (book review).
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Fin-de-siècle Splendor: Repressed Modernities of Late Qing Fiction, 1849-1911
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Fin-de-siècle Splendor: Repressed Modernities of Late Qing Fiction, 1849-1911
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Zeng Pu's "Niehai Hua" as a political novel--a world genre in a Chinese form
538:, wrote that Sai Jinhua's portrayal in that work was "resolutely ambiguous."
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Zeng Pu's Niehai Hua as a Political Novel: A World Genre in a Chinese Form
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Polygamy and Sublime Passion: Sexuality in China on the Verge of Modernity
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Polygamy and Sublime Passion: Sexuality in China on the Verge of Modernity
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and Liu Ts'un-yan in 1982. It was also translated to French and Russian.
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as it can also refer to "woman". In addition the word sounds similar to
716:(CLEAR), ISSN 0161-9705, 07/1983, Volume 5, Issue 1/2, pp. 188–191
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and the novel describes the history of the Russian anarchist movement.
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The novel, beginning with Chapter 22, was published in the magazine
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Tales of Translation: Composing the New Woman in China, 1899–1918
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Tales of Translation: Composing the New Woman in China, 1899-1918
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269:, and becomes friends with the Russian nihilist Sara Aizenson.
27:"Nie Hai Hua" redirects here. For the unrelated 1953 film, see
1208:. Last Updated July 18, 1997. Retrieved on October 28, 2018.
910:, ISSN 0021-9118, 05/1982, Volume 41, Issue 3, p. 574.
559:
Peter Li's essay on the book, "The Dramatic Structure of
55:
Cover of a 1917 edition of the novel, collected by the
672:, ISSN 0156-7365, 01/1982, Issue 7, pp. 199–201 (
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in 1887. The character of Fu Caiyun is based on her.
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In the earlier versions of the novel by Jin Tianhe,
614:and translated by Isabelle Bijon, was published by
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607:(17 & 18), 1982, pp. 137–92.
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206:The title has also been translated as
1006:The University of Hong Kong Libraries
355:The University of Hong Kong Libraries
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1253:McDougall, Bonnie S. and Kam Louie.
1000:" (database listing with abstract) (
699:, August 13, 2013. p. 697–731.
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315:), a magazine that was published in
1307:Ts'eng, P'u (Spring–Autumn 1982).
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863:Red-light Novels of the late Qing
1008:. Retrieved on October 26, 2013.
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610:An edition in French, titled
255:Milena Doleželová-Velingerová
768:Fleur sur l'océan des péchés
747:University of Michigan Press
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1343:20th-century Chinese novels
802:University of Toronto Press
319:and ran from 1903 to 1904.
267:Empress Victoria of Germany
228:A Flower in an Ocean of Sin
66:A 1943 edition of the novel
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1309:"A Flower in a Sinful Sea"
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1259:Columbia University Press
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697:Columbia University Press
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224:Flower in the Sea of Evil
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57:National Library of China
1105:Wang, David Der-wei, p.
1079:McDougall and Louie, p.
907:Journal of Asian Studies
595:A Flower in a Sinful Sea
220:Flower in a Sea of Karma
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618:(TER) in March 1983.
534:. Ying Hu, author of
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804:; January 1, 1980),
601:and Liu Ts'un-yan),
517:imperial examination
350:The Grove of Fiction
159:) for "flower" is a
1353:Roman à clef novels
1348:Qing dynasty novels
1220:Hegel, pp. 190–191.
1135:Wang, David Der-wei
1044:Wang, David Der-wei
881:Wang, David Der-wei
770:". (book review of
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169:traditional Chinese
44:, collected by the
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504:David Der-wei Wang
465:David Der-wei Wang
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203:), meaning China.
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1170:Liu, Jianmei, p.
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109:Rafe de Crespigny
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514:zhuangyuan
404:Sai Jinhua
395:Characters
289:Jin Tianhe
259:synecdoche
244:anarchists
240:Sai Jinhua
195:Wade–Giles
97:Jin Tianhe
89:Wade-Giles
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1282:See entry
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487:Fù Cǎiyún
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434:Chin Chün
334:, or the
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275:Waldersee
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1290:Abstract
1261:, 1997.
893:, 1997.
850:, 2010.
727:, 2000.
622:See also
555:Analysis
459:Hong Jun
251:Shanghai
161:polysemy
1294:Archive
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