Jiao hong ji (The story of Mistress Jiaoniang and Maid Feihong) is one of the ten greatest tragedies in Chinese classical drama. The story drew on an actual event during the Xuanhe reign (1119‒25) of Northern Song. The drama was written by Ming playwright Meng Chengshun (1594‒1684), based on Jiao hong ji, a novel by Yuan author Song Meidong. The drama has 50 scenes in two juan. It tells the story of the doomed lovers Wang Jiaoniang and scholar Shen Chun and their tragic deaths after they are refused permission to marry. At the end of the story, the two lovers reappear at their graves as a pair of mandarin ducks, the symbol of marital fidelity. According to the author’s foreword, he wrote the play in mid-summer of the 11th year (1638) of the Chongzhen reign. The copy presented here is a Ming Chongzhen edition. The work was printed with commentary and illustrations by Chen Hongshou (1599‒1652). Chen, courtesy name Zhanghou, style name Laolian, a native of Zhejiang, excelled in calligraphy and painting. His chief artistic achievement was figure painting. He was called the “only artist with such brush and ink in the course of 300 years of Ming dynasty.”
Jiao hong ji (The story of Mistress Jiaoniang and Maid Feihong) is one of the ten greatest tragedies in Chinese classical drama. The story drew on an actual event during the Xuanhe reign (1119‒25) of Northern Song. The drama was written by Ming playwright Meng Chengshun (1594‒1684), based on Jiao hong ji, a novel by Yuan author Song Meidong. The drama has 50 scenes in two juan. It tells the story of the doomed lovers Wang Jiaoniang and scholar Shen Chun and their tragic deaths after they are refused permission to marry. At the end of the story, the two lovers reappear at their graves as a pair of mandarin ducks, the symbol of marital fidelity. According to the author’s foreword, he wrote the play in mid-summer of the 11th year (1638) of the Chongzhen reign. The copy presented here is a Ming Chongzhen edition. The work was printed with commentary and illustrations by Chen Hongshou (1599‒1652). Chen, courtesy name Zhanghou, style name Laolian, a native of Zhejiang, excelled in calligraphy and painting. His chief artistic achievement was figure painting. He was called the “only artist with such brush and ink in the course of 300 years of Ming dynasty.”