Editing Jin Shengtan (section)

==Major works==

===Commentary on the ''Water Margin''===

Jin's first major critical activity, completed in 1641, was a commentary on the popular Chinese novel the ''[[Water Margin]]''. The commentary begins with three prefaces, in which Jin discusses his reasons for undertaking the commentary, and the achievements of the work's putative author [[Shi Nai'an]].  The next section is entitled "How to Read the Fifth Work of Genius".  In addition to advice for the reader, this section contains Jin's thoughts on the literary achievements of the novel as a whole.  The novel itself comes next, with introductory marks preceding each chapter, and critical comments inserted frequently between passages, sentences, and even words of the text.<ref>Wang (1972), pp. 53–54.</ref>

Jin's version of the ''Water Margin'' is most well known for the drastic alterations that he makes to the text.  Earlier versions of the text are 100- or 120-chapter in length.  Jin deletes a large portion of the story, from the second half of chapter 71 to the end of the novel.  In order to bring the modified text to a conclusion, he composes an episode in which [[Lu Junyi]] has a vision of the execution of the band, and amends this to the second half of chapter 71.  Jin also combines the Prologue of earlier editions with the first chapter, creating a new, single chapter titled "Induction".  This forces the renumbering of all subsequent chapters, so Jin's version of the ''Water Margin'' is referred to by scholars as the "70-Chapter Edition".<ref>Wang (1972), p. 54.</ref>  In addition to the large changes described above, Jin also changes the text of the remaining chapters in three general ways.  First, he improves the consistency of some sections, such that, for example, chapters whose content do not match their titles receive new names.  Secondly, Jin makes the text more compact by removing sections that he feels do not advance the story, and by excising the incidental [[Shi (poetry)|Shi]] and [[Ci (poetry)|Ci]] verses.  Finally, Jin makes subtle changes to the text for pure literary effect.  These changes range from emphasizing the emotions of characters to changing story elements to make them more compelling.<ref>Wang (1972), pp. 54–59.</ref>

Jin's critical commentary frequently oscillates between sympathizing with the individual bandit-heroes and condemning their status as outlaws. On one hand, he criticizes the evil official system that has led many of the 108 heroes to become bandits.  He also expresses admiration for several of the men.  On the other hand, he calls the band "malignant" and "evil".  He especially criticizes [[Song Jiang]], the leader of the group.  Jin's removal of the last 30 (or 50) chapters of the novel can be seen as an extension of his condemnation of banditry.  In these chapters, the bandits are pardoned by Imperial edict, and are put in service of the country.  Jin's version, by contrast, has all of the bandits captured and executed.  He follows this ending with eight reasons why outlawry can never be tolerated.<ref>Wang (1972), pp. 60–63.</ref>

Later readers of Jin have advanced two main theories for his divergent positions of admiring the bandits and yet denouncing them as a group.  [[Hu Shih]] argues that China during Jin's life was being torn apart by two bands of outlaws, so Jin did not believe that banditry should be glorified in fiction.  This agrees well with Jin's philosophy.  His Buddhist and Taoist beliefs advocated natural development for every individual in society, while the Confucian part of him respected the emperor and the state as the ultimate authority.  The other possibility is that Jin's attempt to reimage the novel into a condemnation of the bandits was to save the novel after it had been banned by the [[Chongzhen Emperor]].  This second theory is far-fetched, as the emperor's decree banning the novel was not promulgated until a year after the completion of Jin's commentary.<ref>Wang (1972), pp. 63–65.</ref> Jin's views on the characters aside, he has unconditional praise for the novel as a work of art.  He praises the vivid and lively characters of the novel, saying, "The ''Water Margin'' tells a story of 108 men: yet each has his own nature, his own temperament, his own outward appearance, and his own voice".  He also praises the work's vivid description of events, frequently remarking that the prose is "like a picture".  Finally, Jin appreciates the technical virtuosity of the author, and names 15 separate techniques used by Shi Naian.<ref>Wang (1972), pp. 65–68.</ref>

===Commentary on the ''Romance of the Western Chamber''===

In 1656, Jin completed his second major commentary, written on the ''[[Romance of the Western Chamber]]'', a 13th-century [[Yuan dynasty]] play. This commentary follows a structure very similar to Jin's earlier commentary on the ''Water Margin''.  It begins with two prefaces outlining Jin's reasons for writing the commentary followed by a third with notes on how the play should be read.  The play itself follows, with introductory marks preceding each chapter and critical comments frequently inserted in the text itself.  Jin undertakes fewer major structural alterations in this commentary than he does in critiquing the ''Water Margin''. Each of parts I, III, IV, and V of the play is originally preceded by an "Induction". Jin merges these into the acts themselves.  Part II of the play originally consists of five acts, which Jin condenses into four by merging the first and second acts.<ref>Wang (1972), pp. 86–90.</ref>

As with the ''Water Margin'', Jin frequently makes editorial changes to the play itself.  These changes fall into two broad categories.  Many changes are made in order to make the play's two young lovers, Zhang Sheng and [[Cui Yingying]], act and speak in accordance with their high class backgrounds.  Jin particularly expresses his admiration for Yingying's beauty and character, and modifies any scenes which he feels painted her in too vulgar a light.  Other changes are made for the simple reason of achieving superior literary effect.  In the arias of the play, these changes include removing supernumerary words and changing words to more vivid descriptors.  The strict metrical requirements of the aria format makes it difficult for Jin to make large-scale changes to these sections.  However, some changes do violate the rhyme scheme as it existed during the Tang dynasty or the rules of prosody.  In the spoken sections of the play, Jin is much more liberal in making editorial changes.  Many of these are intended to accentuate the emotions of the characters.  The end result is that Jin's version of the play is an excellent literary work, but was viewed by contemporaries as unfit for the stage.<ref>Wang (1972), p. 87-90.</ref>

In his commentary, Jin frequently criticizes previous "unknowledgeable" readers, saying that they have missed many hidden meanings in the text.  He sees it as his duty as a knowledgeable reader to reveal these meanings which the author has placed for him to find.  In doing so, Jin also has the goal of portraying the play as worthy of study due to its deep technical, artistic, psychological, and social dimensions.<ref name="Church">{{cite journal | author=Church, Sally K.| title=Beyond the Words: Jin Shengtan's Perception of Hidden Meanings in Xixiang ji| journal=Harvard Journal of Asiatic Studies| year=1999| volume=59| issue=1| pages=5–77| doi=10.2307/2652683 | publisher=Harvard Journal of Asiatic Studies, Vol. 59, No. 1 | jstor=2652683}}</ref>  In content, much of Jin's critical comments focus on the skill of the author in conveying emotions.  Jin praises ''Romance of the West Chamber'' as "[one of the most] marvelous [pieces of] writing between heaven and earth".  Other comments focus on Yingying. As mentioned above, Jin feels that she is the central character of the play, and a woman of great beauty and character.  Jin feels that the play shows a great degree of unity and tightness in its structure.  This opinion can be seen explicitly in his comments, as well as in the fact that he does not make structural alterations to the play to nearly the degree as in his version of ''Water Margin''.  Jin does, however, comment on Part V of the play.  This part has been thought by some commentators to be a continuation added by an author other than Wang Shifu.  Jin agrees with this view, criticizing the last part as being inferior in quality to the previous sections and continuing the story past its vital point.<ref>Wang (1972), p. 90-103.</ref>