Water Margin

Water Margin is a 14th-century Chinese novel attributed to Shi

Nai'an. It is also translated as Outlaws of the Marsh and All Men Are Water Margin
Brothers.[note 1] Considered one of the Four Great Classical Novels
of Chinese literature, the novel is written in vernacular Chinese rather
than Classical Chinese.[1]

The story set in the closing years of the Northern Song dynasty, tells
of how a group of 108 outlaws gather at Mount Liang (or Liangshan
Marsh) to form a sizable army before they are eventually granted
amnesty by the government and sent on campaigns to resist foreign
invaders (Liao) and suppress rebel forces (Fang La). It has introduced
readers to many of the best-known characters in Chinese literature,
such as Wu Song, Lin Chong, Pan Jinlian, Song Jiang and Lu
Zhishen.

Contents
Historical context and development
Plot
A page from a block-printed version
Outline of chapters
of the novel Water Margin, brought
Themes to Copenhagen, Denmark in the
Authorship early part of the 17th-century
Shi Nai'an Author Shi Nai'an
Luo Guanzhong
Shi Hui
Original title 傳
Country China
Guo Xun
Language Vernacular Chinese
Editions
Simplified editions Genre Historical fiction
Complex editions
Water Margin
Translations
List of English Translations
Influences and adaptations
Literature
Comics "Water Margin" in Traditional (top)
Film and Simplified (bottom) Chinese
Television characters
Video games
Traditional Chinese 傳
Music
Other
Simplified Chinese 浒传
Literal meaning "Water Margin
Notes
References Story"
Further reading Transcriptions
External links Standard Mandarin
Hanyu Pinyin Shuǐhǔ zhuàn
Gwoyeu Shoeihuu juann
Historical context and development Romatzyh

Water Margin is based on the exploits of the outlaw Song Jiang and Wade–Giles Shui3-hu3 chuan4
his 108 companions (The 36 "Heavenly Spirits" ( 三⼗六天罡 ) and IPA [ʂwèi.xù ʈʂwân]
the 72 "Earthly Demons" ( 七⼗⼆地煞 )). The group was active in the Wu
vhu平 tsuae
Huainan region and surrendered to the Song government in 1121.
Romanization Sy
They were recorded in the historical text History of Song. The name
of "Song Jiang" also appeared in the biography of Emperor Huizong
平
of Song, which states: Yue: Cantonese
Yale Séui-wú jyuhn
The outlaw Song Jiang of Huainan and others attacked Romanization
the army at Huaiyang, (the Emperor) sent generals to Jyutping Seoi2-wu2 zyun6
attack and arrest them. (The outlaws) infringed on the IPA [sɵ̌ y.wǔː tsỳːn]
east of the capital (Kaifeng), Henan, and entered the
boundaries of Chu (referring to present-day Hubei and Southern Min
Hunan) and Haizhou (covering parts of present-day Hokkien POJ Suí hóo tuān
Jiangsu). The general Zhang Shuye was ordered to
pacify them.[2]

Zhang Shuye's biography further describes the activities of Song Jiang and the other outlaws, and tells they
were eventually defeated by Zhang.[3]

Folk stories about Song Jiang circulated during the Southern Song. The first known source to name Song
Jiang's 36 companions was Miscellaneous Observations from the Year of Guixin ( 癸⾟雜識 ) by Zhou Mi,
written in the 13th century. Among the 36 are Lu Junyi, Guan Sheng, Ruan Xiao'er, Ruan Xiaowu, Ruan
Xiaoqi, Liu Tang, Hua Rong and Wu Yong. Some of the characters who later became associated with Song
Jiang also appeared around this time. They include Sun Li, Yang Zhi, Lin Chong, Lu Zhishen and Wu Song.

A palace memorial by Hou Meng, included in the History of Song, states: "Song Jiang and 36 others cross Qi
and Wei (the central belt of the North China Plain) at will. Government troops number tens of thousands but
no one dares oppose him. His abilities must be extraordinary. Since we also face plunders by Fang La and his
outlaws from Qingxi, why not grant Song Jiang and his men amnesty and request them to lead a campaign
against Fang La to redeem themselves?"

A direct precursor of Water Margin is Old Incidents in the Xuanhe Period of the Great Song Dynasty ( ⼤宋宣
和遺事 ), which appeared around the mid-13th century. The text is a written version of storytellers' tales based
on supposed historical events. It is divided into ten chapters, roughly covering the history of the Song dynasty
from the early 11th century to the establishment of the Southern Song regime in 1127. The fourth chapter
covers the adventures of Song Jiang and his 36 companions, and their eventual defeat by Zhang Shuye.
Versions of some of the stories and characters in Water Margin are clearly visible, including "Yang Zhi Sells
His Precious Sabre", "Robbing the Convoy of Birthday Gifts", "Song Jiang Kills Yan Poxi", and "Fighting
Fang La". Song Jiang and his outlaws are said to operate in the Taihang Mountains.
Stories about the outlaws became a popular subject for Yuan dynasty
drama. During this time, the material on which Water Margin was
based evolved into its current form. The number of outlaws increased
to 108. Even though they come from different backgrounds, and
include scholars, fishermen, imperial drill instructors, officers, and
others, all of them eventually come to occupy Mount Liang (or
Liangshan Marsh).

There is a theory that Water Margin became popular during the Yuan
era as the common people (predominantly Han Chinese) resented the
Mongol rulers.[4] Officials may have decided that it was safe to
promote the outlaws as a negative reflection on the fallen Song
dynasty, but at the same time the tales about them could be interpreted
as calling for the common people to rise up against corruption and
unfairness in the government. The ambivalence persisted into later
times, and the Chongzhen Emperor of the Ming dynasty, acting on
the advice of his ministers, banned the book.[5]

The novel, praised as an early "masterpiece" of vernacular fiction,[6] A flag that says "Enforcing the Way
is renowned for the "mastery and control" of its mood and tone.[6] in Heaven's Name" (Chinese: 替 ⾏
The work is also known for its use of vivid, humorous and especially ; pinyin: Tì Tiān Xíng Dào) on
racy language.[6] However, it has been denounced as "obscene" by Mount Liang in Liangshan County.
various critics since the Ming dynasty.[7]

"These seduction cases are the hardest of all. There are five conditions that have to be met before
you can succeed. First, you have to be as handsome as Pan An. Second, you need a tool as big as
a donkey's. Third, you must be as rich as Deng Tong. Fourth, you must be as forbearing as a
needle plying through cotton wool. Fifth, you've got to spend time. It can be done only if you
meet these five requirements." "Frankly, I think I do. First, while I'm far from a Pan An, I still can
get by. Second, I've had a big cock since childhood."

— An excerpt from the novel with English translation by Sidney Shapiro.[8]

Plot
The opening episode in the novel is the release of the 108 Spirits, imprisoned under an ancient stele-bearing
tortoise.[9]

The next chapter describes the rise of Gao Qiu, one of the primary
antagonists of the story. Gao abuses his status as a Grand Marshal by
oppressing Wang Jin; Wang's father taught Gao a painful lesson when
the latter was still a street-roaming ruffian. Wang Jin flees from the capital
with his mother and by chance he meets Shi Jin, who becomes his
apprentice. The next few chapters tell the story of Shi Jin's friend Lu
Zhishen, followed by the story of Lu's sworn brother Lin Chong. Lin
Chong is framed by Gao Qiu for attempting to assassinate him, and
almost dies in a fire at a supply depot set by Gao's henchmen. He slays
his foes and abandons the depot, eventually making his way to Lu Zhishen uproots a tree
Liangshan Marsh, where he becomes an outlaw. Meanwhile, the (Summer Palace mural)
"Original Seven", led by Chao Gai, rob a convoy of birthday gifts for the
Imperial Tutor Cai Jing, another primary antagonist in the novel. They
flee to Liangshan Marsh after defeating a group of soldiers sent by the authorities to arrest them, and settle
there as outlaws with Chao Gai as their chief. As the story progresses, more people come to join the outlaw
band, including military personnel and civil officials who grew tired of serving the corrupt government, as well
as men with special skills and talents. Stories of the outlaws are told in separate sections in the following
chapters. Connections between characters are vague, but the individual stories are eventually pieced together
by chapter 60 when Song Jiang succeeds Chao Gai as the leader of the band after the latter is killed in a battle
against the Zeng Family Fortress.

The plot further develops by illustrating the conflicts between the outlaws
and the Song government after the Grand Assembly of the 108 outlaws.
Song Jiang strongly advocates making peace with the government and
seeking redress for the outlaws. After defeating the imperial army in a
great battle at Liangshan Marsh, the outlaws eventually receive amnesty
from Emperor Huizong. The emperor recruits them to form a military
contingent and sends them on campaigns against invaders from the Liao
dynasty and rebel forces led by Tian Hu, Wang Qing and Fang La within
the Song dynasty's domain. Although the former outlaws eventually
emerge victorious against the rebels and Liao invaders, the campaigns
Wu Song slaying a tiger (Summer
also led to the tragic dissolution of the 108 heroes. At least two-thirds of
Palace mural) them died in battle while the surviving ones either return to the imperial
capital to receive honours from the emperor and continue serving the
Song government, or leave and spend the rest of their lives as
commoners elsewhere. Song Jiang himself is eventually poisoned to death by the "Four Treacherous
Ministers" – Gao Qiu, Yang Jian ( 楊戩), Tong Guan and Cai Jing.

Outline of chapters

This outline of chapters is based on a 100 chapters edition. Yang Dingjian's 120 chapters edition includes other
campaigns of the outlaws on behalf of Song dynasty, while Jin Shengtan's 70 chapters edition omits the
chapters on the outlaws' acceptance of amnesty and subsequent campaigns.
 Chapter(s) Main events
1 Marshal Hong releases the 108 spirits
2 The rise of Gao Qiu
2–3 The story of Shi Jin
3–7 The story of Lu Zhishen
7–12 The story of Lin Chong
12–13 The story of Yang Zhi
13–20 The stealing of the birthday gifts by the "Original Seven"
20–22 The story of Song Jiang
23–32 The story of Wu Song
32–35 The story of Hua Rong
36–43 Song Jiang's encounters in Jiangzhou
Yang Lin, a hero from the novel,
44–47 The story of Shi Xiu and Yang Xiong
from Utagawa Kuniyoshi's series
47–50 The three assaults on the Zhu Family Village of woodblock prints illustrating
the 108 Suikoden.
51–52 The story of Lei Heng and Zhu Tong
The outlaws' attack on Gaotangzhou; the search for Gongsun
53–55
Sheng
The first imperial assault on Liangshan Marsh (led by Huyan
55–57
Zhuo)
The outlaws' attack on Qingzhou; Huyan Zhuo's defection to
57–59
Liangshan
59–60 The outlaws, led by Gongsun Sheng, attack Mount Mangdang
The first assault by the outlaws on the Zeng Family Village;
60
the death of Chao Gai
The story of Lu Junyi; the outlaws attack Daming Prefecture;
60–67 the second imperial assault on Liangshan Marsh (led by Guan
Sheng)
Guan Sheng defects to Liangshan; The third imperial assault
67
on Liangshan Marsh (led by Shan Tinggui and Wei Dingguo)
The second assault by the outlaws on the Zeng Family
68
Fortress;
69–70 The outlaws attack Dongping and Dongchang prefectures
71–74 The Grand Assembly; the funny and lethal antics of Li Kui
Emperor Huizong offers amnesty for the first time; the fourth
75–78
imperial assault on Liangshan Marsh (led by Tong Guan)
78–80 The fifth imperial assault on Liangshan Marsh (led by Gao Qiu)
81–82 The outlaws are granted amnesty
83–89 The Liangshan heroes attack the Liao invaders
90–99 The Liangshan heroes attack Fang La
100 The tragic dissolution of the Liangshan heroes

The extended version includes the Liangshan heroes' expeditions against the rebel leaders Tian Hu and Wang
Qing prior to the campaign against Fang La.
Other stories are told such as the heroes fighting the Jurchen-ruled Jin dynasty or moving to Siam.[10][11][12]

Themes
Susan L. Mann writes that the “desire for male camaraderie” is “far from a mere plotline,” for it is a basic
theme of this and other classic novels. She places the novel’s male characters in a tradition of men's culture of
mutual trust and reciprocal obligation, such as figures known as the Chinese knight-errant. Sima Qian, the Han
dynasty historian, devoted a section to biographies: "Their words were always sincere and trustworthy, and
their actions always quick and decisive. They were always true to what they promised, and without regard to
their own persons, they would rush into dangers threatening others.” She finds such figures in this and other
novels, such as Romance of the Three Kingdoms and Journey to the West, all of which dramatized the
“empathic emotional attraction between men who appreciate and play off against one another's complementary
qualities.”[13]

Licentious and treacherous women are another recurring theme. Modern critics have debated whether Water
Margin is misogynistic.[14][15][16] Most beautiful women in the novel are depicted as immoral and cruel, and
they are often involved in schemes against the protagonists. Among them is Pan Jinlian, the sister-in-law of
Wu Song, who has later become an archetypal femme fatale and one of the most notorious villainesses of
classical Chinese culture. On the other hand, the few "good" women in the story, like Sun Erniang and Gu
Dasao, are not particularly noted for their beauty, or are even described as being plain or ugly. The leader of
the outlaws, Song Jiang admonished "Any outlaw that meddles with women is contemptible."[17]

Critics offer various explanations for Water Margin's prejudice against women. Most common among modern
Chinese critics is the patriarchal society of the Imperial China.[18][19] CUHK professor Sun Shuyu however
argues that the author(s) of Water Margin intentionally vilified women in order to discipline their would-be-
outlaw audiences. [20]

Authorship
Since fiction was not at first a prestigious genre in the Chinese literary
world, authorship of early novels was not attributed and may be
unknowable. The authorship of Water Margin is still in some sense
uncertain, and the text in any case derived from many sources and
involved many editorial hands. While the novel was traditionally
attributed to Shi Nai'an, of whose life nothing is reliably known, recent
scholars think that the novel, or portions of it, may have been written or
revised by Luo Guanzhong (the author of Romance of the Three
Kingdoms).[21] Other contenders include Shi Hui ( 施惠 ) and Guo Xun
郭勛
( ).

Shi Nai'an

Many scholars believe that the first 70 chapters were indeed written by
Shi Nai'an; however the authorship of the final 30 chapters is often
questioned, with some speculating that it was instead written by Luo
Guanzhong, who may have been a student of Shi.[21] Another theory, Illustration of a game of cuju from
which first appeared in Gao Ru's Baichuan Shuzhi ( 百川書志 ) during Water Margin, from a 15th-
century woodcut edition.
the Ming dynasty, suggests that the whole novel was written and
compiled by Shi, and then edited by Luo.
Shi drew from oral and written texts that had accumulated over time. Stories of the Liangshan outlaws first
appeared in Old incidents in the Xuanhe period of the great Song dynasty ( ⼤宋宣和遺事 ) and had been
circulating since the Southern Song dynasty, while folk tales and opera related to Water Margin have already
existed long before the novel itself came into existence. This theory suggests that Shi Nai'an gathered and
compiled these pieces of information to write Water Margin.

Luo Guanzhong

Some believe that Water Margin was written entirely by Luo Guanzhong. Wang Daokun ( 汪道昆 ), who lived
during the reign of the Jiajing Emperor in the Ming dynasty, first mentioned in Classification of Water Margin
⽔滸傳敘
( ) that: "someone with the family name Luo, who was a native of Wuyue (Yue (a reference to the
southern China region covering Zhejiang), wrote the 100-chapter novel." Several scholars from the Ming and
Qing dynasties, after Wang Daokun's time, also said that Luo was the author of Water Margin. During the
early Republican era, Lu Xun and Yu Pingbo suggested that the simplified edition of Water Margin was
written by Luo, while the traditional version was by Shi Nai'an.

However, Huikang Yesou ( 惠康野叟 識餘

) in Shi Yu ( ) disagree with Wang Daokun's view on the grounds
that there were significant differences between Water Margin and Romance of the Three Kingdoms, therefore
these two novels could not have been written by the same person.

Hu Shih felt that the draft of Water Margin was done by Luo Guanzhong, and could have contained the
chapters on the outlaws' campaigns against Tian Hu, Wang Qing and Fang La, but not invaders from the Liao
dynasty.[22]

Another theory states that Luo Guanzhong was from the Southern Song period vice the Ming dynasty. Cheng
Muheng ( 程穆衡 ) suggested in Notes on Water Margin ( ⽔滸傳注略 ) that Luo lived in the late Southern Song
dynasty and early Yuan era. Huang Lin'gen ( ⿈霖根 ) pointed out that the name of one of the compilers of
Anecdotes of Jingkang ( 靖康稗史 ) was Nai'an, and suggested that this "Nai'an", who lived during the
Southern Song dynasty, was Shi Nai'an. He also felt that Shi wrote a simplified version of Water Margin,
which is not the current edition.

Shi Hui

Another candidate is Shi Hui ( 施惠 ), a nanxi (southern opera) playwright who lived between the late Yuan
dynasty and early Ming dynasty. Xu Fuzuo ( 徐復祚 ) of the Ming dynasty mentioned in Sanjia Cunlao Weitan
(三家村⽼委談 ) that Junmei (君美 ; Shi Hui's courtesy name)'s intention in writing Water Margin was to
entertain people, and not to convey any message. During the Qing dynasty, Shi Hui and Shi Nai'an were
linked, suggesting that they are actually the same person. An unnamed writer wrote in Chuanqi Huikao
Biaomu ( 傳奇會考標⽬ ) that Shi Nai'an's given name was actually "Hui", courtesy name "Juncheng" ( 君承 ),
and he was a native of Hangzhou. Sun Kaidi ( 孫楷第 ) also wrote in Bibliography of Chinese Popular Fiction
that "Nai'an" was Shi Hui's pseudonym. Later studies revealed that Water Margin contained lines in the
Jiangsu and Zhejiang variety of Chinese, and that You Gui Ji ( 幽闺记 ), a work of Shi Hui, bore some
resemblance to Water Margin, hence the theory that Water Margin was authored by Shi Hui.

Guo Xun

郭勛
Another theory attributes the authorship to Guo Xun ( ), a politician who lived in the Ming dynasty. Shen
沈德符
Defu ( 萬曆野獲編
) mentioned in Wanli Yehuo Bian ( ) that Guo wrote Water Margin. Shen Guoyuan
沈國元
( ) added in Huangming Congxin Lu ( 皇明從信錄 ) that Guo mimicked the writing styles of Romance
of the Three Kingdoms and Water Margin to write Guochao Yinglie Ji ( 國朝英烈記 ). Qian Xiyan ( 錢希⾔
)
 戲嘏
also stated in Xi Gu ( ) that Guo edited Water Margin before. Hu Shih countered in his Research on Water
Margin (⽔滸傳新考 ) that Guo Xun's name was used as a disguise for the real author of Water Margin. Dai
Bufan ( 戴不凡 ) had a differing view, as he suspected that Guo wrote Water Margin, and then used "Shi
Nai'an" to conceal his identity as the author of the novel.

Editions
The textual history of the novel is extraordinarily
complex for it includes oral folklore, storytellers' tales,
and printed versions of different parts and variations. Not
until the 1920s were there studies which began to set
these questions in order, and there is still disagreement.[1]
The earliest components of the Water Margin (in
manuscript copies) were from the late 14th century. The
earliest extant complete printed edition of Water Margin
is a 100-chapter book published in 1589.[23] Another
edition, with 120 chapters by Yang Dingjian ( 楊定⾒ ),
has been preserved from the reign of the Wanli Emperor
Pages of an illustrated woodblock version of Water
(1573–1620) in the Ming dynasty. Yet other editions
Margin by Hokusai, 1805–38, from the Metropolitan
were published in the early Qing dynasty.
Museum of Art
The most widely read edition was published by Jin
Shengtan in 1643, reprinted many times. Jin provided
three introductions that praised the novel as a work of genius and inserted commentaries into the text that
explained how to read the novel. He cut matter that he thought irrelevant, reducing the number of chapters to
70.

A printed copy of the Water Margin, dating from the Jiajing Emperor's reign in the Ming dynasty, titled
Jingben Zhongyi Zhuan ( 京本忠義傳 ), is preserved in the Shanghai Library. The various editions of Water
Margin can roughly be classified into two groups - simplified and traditional.

Simplified editions

The simplified editions include stories on the outlaws being granted amnesty, followed by their campaigns
against the Liao dynasty, Tian Hu, Wang Qing and Fang La, all the way until Song Jiang's death. At one
point, the later chapters were compiled into a separate novel, titled Sequel to Water Margin ( 續⽔滸傳
), which
is attributed to Luo Guanzhong.

Known simplified editions of Water Margin include:

A 115-chapter edition, Masterpieces of the Han and Song dynasties ( 漢宋奇書)

A 110-chapter edition, Chronicles of Heroes ( ) 英雄譜
A 164-chapter edition, combined with Sequel to Water Margin

Complex editions

The complex editions are more descriptive and circulated more widely than their simplified counterparts. The
three main versions of the complex editions are a 100-chapter, a 120-chapter and a 70-chapter edition. The
most commonly modified parts of the complex editions are the stories on what happened after the outlaws are
granted amnesty.

100-chapter edition: Includes the outlaws' campaigns against the Liao dynasty and Fang La
after they have been granted amnesty.
120-chapter edition: An extended version of the 100-chapter edition, includes the outlaws'
campaigns against Tian Hu and Wang Qing (chapters 91 to 110).
70-chapter edition: Edited by Jin Shengtan in the late Ming dynasty, this edition uses Chapter 1
as a prologue and ends at Chapter 71 of the original version, and does not include the stories
about the outlaws being granted amnesty and their campaigns.

Translations
Water Margin has been translated into many languages. The book was translated into Manchu as Möllendorff:
Sui hū bithe.[24] Japanese translations date back to at least 1757, when the first volume of an early Suikoden
(Water Margin rendered in Japanese) was printed.[25] Other early adaptations include Takebe Ayakari's 1773
Japanese Water Margin (Honcho suikoden),[26] the 1783 Women's Water Margin (Onna suikoden),[27] and
Santō Kyōden's 1801 Chushingura Water Margin (Chushingura suikoden).[28]

In 1805, Kyokutei Bakin released a Japanese translation of the Water Margin

illustrated by Hokusai. The book, called the New Illustrated Edition of the
Suikoden (Shinpen Suikogaden), was a success during the Edo period and
spurred a Japanese "Suikoden" craze.

In 1827, publisher Kagaya Kichibei commissioned Utagawa Kuniyoshi to

produce a series of woodblock prints illustrating the 108 heroes in Water
Margin. The 1827–1830 series, called 108 Heroes of the Water Margin or
Tsuzoku Suikoden goketsu hyakuhachinin no hitori, catapulted Kuniyoshi to
fame. It also brought about a craze for multicoloured pictorial tattoos that
covered the entire body from the neck to the mid-thigh.[29]

Following the great commercial success of the Kuniyoshi series, other ukiyo-e
artists were commissioned to produce prints of the Water Margin heroes,
which began to be shown as Japanese heroes rather than the original Chinese
An illustration of the novel
personages.

Among these later series was Yoshitoshi's 1866–1867 series of 50 designs in

Chuban size, which are darker than Kuniyoshi's and feature strange ghosts and monsters.[30]

The first Thai translation was done in 1867, originally in samud thai (Thai paper book) format, There were 82
volumes in total. It was printed in western style in 1879 and distributed commercially by Dan Beach Bradley,
an American Protestant missionary to Siam.

Jacques Dars translated the book into French and its 1st edition was published in 1978.[31]

Pearl S. Buck was one of the first English translators of the 70-chapter version. Titled All Men are Brothers
and published in 1933, the book was well received by the American public. However, it was also criticised for
its errors, such as the mistranslation of Lu Zhishen's nickname "Flowery Monk" as "Priest Hua". In 1937,
another complete translation appeared, titled Water Margin, by J. H. Jackson, edited by Fang Lo-Tien.[32] The
70-chapter Jackson translation, which includes Shi Nai'an's foreword (1.5 pages) and prologue (nine pages), is
estimated at about 365,000 words.
Later translations include Chinese-naturalised scholar Sidney Shapiro's Outlaws of the Marsh (1980).
However, as it was published during the Cultural Revolution, this edition received little attention then.[33] It is
a translation of a combination of both the 70-chapter and 100-chapter versions. The most recent translation,
titled The Marshes Of Mount Liang, by Alex and John Dent-Young, is a five-volume translation of the 120-
chapter version.[34]

List of English Translations

1. Pearl S. Buck. All Men Are Brothers (New York: The John Day Co., 2 vols. 1933.); reprinted, All
Men Are Brothers (New York: Moyer Bell, 2010 ISBN 978-1-55921-303-5). The 71-chapter
version.
2. J. H. Jackson, edited by Fang Lo-Tien. The Water Margin (1937). The 71-chapter version
including Shi Nai'an's foreword.
3. The Outlaws of the Marsh (1980) by Sidney Shapiro. A combination of the 71 and the 100-
chapter versions without the foreword by Shi Nai'an.
4. Alex and John Dent-Young. The Marshes Of Mount Liang (1994-2002). The 120-chapter
version includes a prologue but omits the foreword by Shi Nai'an and some passages related
to the official details of the Ming Dynasty.

These translations differ in the selection of texts and completeness. The Jackson translation is the only
translation to contain Shi Nai'an's foreword. The Shapiro translation omits the prologue, the foreword, and
most of the poems. The Dent-Young translation omits passages concerning the Ming Dynasty administration
and the translators admitted to compromising some details and retaining inconsistencies in their Brief Note on
the Translation.

Influences and adaptations

Literature

Jin Ping Mei is a 1610 erotic novel written by Lanling Xiaoxiao Sheng
蘭陵笑笑⽣
( ) in the late Ming dynasty. The novel is based on the story
of Wu Song avenging his brother in Water Margin, but the focus is on
Ximen Qing's sexual relations with other women, including Pan Jinlian.
In Water Margin, Ximen Qing is killed by Wu Song for murdering the
latter's brother, while in Jin Ping Mei he dies a horrible death due to an
accidental overdose of aphrodisiac pills.

Shuihu Houzhuan ( ⽔滸後傳 ), which roughly translates to The Later

Story of Water Margin, is a novel written by Chen Chen ( 陳忱 ) in the
Qing dynasty. The story is set after the end of the original Water Margin,
with Li Jun as the protagonist. It tells of how the surviving Liangshan
heroes are forced to become outlaws again due to corruption in the
government. When the armies of the Jurchen-ruled Jin dynasty invade
the Song dynasty, the heroes rise up to defend their nation from the Illustration from a 15th-century
woodcut edition
invaders. The heroes eventually decide to leave China for good and sail
to distant lands. Apart from the surviving Liangshan heroes from the
original novel, Shuihu Houzhuan also introduces new characters such as
Hua Rong's son Hua Fengchun ( 花逢春 ), Xu Ning's son Xu Sheng ( 徐晟 ) and Huyan Zhuo's son Huyan Yu
呼延鈺
( ).
 It is difficult to exaggerate the importance of Chinese fiction and drama to the literary culture of early
modern Japan. The rise to ubiquitous prominence of Chinese texts such as Shuihu zhuan, Xiyou ji (Journey
to the West), and the short fiction of Feng Menglong (1574–1646) was a gradual occurrence.... From a
certain vantage point, the Chinese novel Shuihu zhuan is a ubiquitous presence in the literary and visual
culture of early modern Japan. Indeed, Japanese engagement with Shuihu zhuan is nearly coeval with the
establishment of Tokugawa hegemony itself, as evidenced by the presence of a 1594 edition of the novel in
the library of the Tendai abbot and adviser to the fledgling Tokugawa regime, Tenkai. Tenkai’s death in
1643 provides us with a lower limit for dating the novel’s importation into Japan, demonstrating the
remarkable rapidity with which certain Chinese texts found their way into Japanese libraries.

— William C. Hedberg on the influences of Water Margin on Japanese fiction[35][36]

蕩寇志
Dang Kou Zhi ( ), which roughly translates to The Tale of Eliminating Bandits, is a novel written by Yu
Wanchun ( 俞萬春 ) during the reign of the Daoguang Emperor in the Qing dynasty. Yu disagreed that the
Liangshan outlaws are loyal and righteous heroes, and was determined to portray them as ruthless mass
murderers and destroyers, hence he wrote Dang Kou Zhi. The novel, which starts at the Grand Assembly of
the 108 outlaws at Liangshan Marsh, tells of how the outlaws plundered and pillaged cities before they are
eventually eliminated by government forces led by Zhang Shuye ( 張叔夜 ) and his lieutenants Chen Xizhen
陳希真
( ) and Yun Tianbiao ( 雲天彪 ).

The Qing dynasty writer Qian Cai intertwined the life stories of Yue Fei and the outlaws Lin Chong and Lu
Junyi in The Story of Yue Fei (1684). He stated that the latter were former students of the general's martial arts
tutor, Zhou Tong.[37] However, literary critic C. T. Hsia commented that the connection was a fictional one
created by the author.[38] The Republican era folktale Swordplay Under the Moon, by Wang Shaotang, further
intertwines Yue Fei's history with the outlaws by adding Wu Song to the list of Zhou's former students.[39] The
tale is set in the background of Wu Song's mission to Kaifeng, prior to the murder of his brother. Zhou tutors
Wu in the "rolling dragon" style of swordplay during his one-month stay in the capital city. It also said that
Zhou is a sworn brother of Lu Zhishen and shares the same nickname with the executioner-turned-outlaw Cai
Fu.[40]

Frank Chin's novel, Donald Duk, contains many references to the Water Margin. Song Jiang and Li Kui make
several appearances in the protagonist's dreams.

Eiji Yoshikawa wrote Shin Suikoden ( 新⽔滸伝 ), which roughly translates to "New Tales from the Water
Margin".

In addition to its colossal popularity in China, Water Margin has been identified as one of the most influential
works in the development of early modern Japanese literature.[36][41][42]

Comics

Water Margin is referred to in numerous Japanese manga, such as Tetsuo Hara and Buronson's Fist of the
North Star, and Masami Kurumada's Fūma no Kojirō, Otokozaka and Saint Seiya. In both works of fiction,
characters bearing the same stars of the Water Margin characters as personal emblems of destiny are featured
prominently. A Japanese manga called Akaboshi: Ibun Suikoden, based on the story of Water Margin, was
serialised in Weekly Shonen Jump.

A Hong Kong manhua series based on Water Margin was also created by the artist Lee Chi Ching. A
reimagined series based on Water Margin, 108 Fighters, was created by Andy Seto.
Between 1978 and 1988, the Italian artist Magnus published four acts of his work I Briganti, which places the
Water Margin story in a setting that mixes Chinese, Western and science fiction (in Flash Gordon style)
elements. Before his death in 1996, the four completed "acts" were published in a volume by Granata Press;
two following "acts" were planned but never completed.

In 2007, Asiapac Books published a graphic narrative version of portions of the novel.[43]

Water Margin in Chinese opera

Film

Most film adaptations of Water Margin were produced by Hong

Kong's Shaw Brothers Studio and mostly released in the 1970s
and 1980s. They include: The Water Margin (1972),[44][45]
directed by Chang Cheh and others; Delightful Forest (1972),
directed by Chang Cheh again and starring Ti Lung as Wu
Song;[46] Pursuit (1972), directed by Kang Cheng and starring
Elliot Ngok as Lin Chong; All Men Are Brothers (1975), a
sequel to The Water Margin (1972) directed by Chang Cheh and Wang Ying and Hu Sanniang in Peking
others; Tiger Killer (1982), directed by Li Han-hsiang and opera
starring Ti Lung as Wu Song again.[47]

Other non-Shaw Brothers production include: All Men Are

Brothers: Blood of the Leopard, also known as Water Margin:
True Colours of Heroes (1992), which centers on the story of
Lin Chong, Lu Zhishen and Gao Qiu, starring Tony Leung Ka-
fai, Elvis Tsui and others;[48] Troublesome Night 16 (2002), a
Hong Kong horror comedy film which spoofs the story of Wu
Song avenging his brother.
Yan Xijiao and Song Jiang in Yangzhou
opera
Television

Television series directly based on Water Margin include:

Nippon Television's The Water Margin (1973), which was
filmed in mainland China and later released in other countries
outside Japan;[49][50] Outlaws of the Marsh (1983), which won a
Golden Eagle Award; CCTV's The Water Margin (1998),
produced by Zhang Jizhong and featuring fight choreography by
Yuen Woo-ping; All Men Are Brothers (2011), directed by Kuk
Kwok-leung and featuring actors from mainland China, Hong
Kong and Taiwan.
Pan Jinlian in Kunqu
Animations adapted from Water Margin include: Giant Robo:
The Animation (1992), an anime series based on Mitsuteru
Yokoyama's manga series; Outlaw Star (1998), another cartoon series which makes several references to the
novel; Hero: 108 (2010), a flash animated series produced by various companies and shown on Cartoon
Network. Galaxy Divine Wind Jinraiger, an anime in the J9 Series planned for a 2016 broadcast, has also cited
Water Margin as its inspiration.[51][52]

The 2004 Hong Kong television series Shades of Truth, produced by TVB, features three characters from the
novel who are reincarnated into present-day Hong Kong as a triad boss and two police officers respectively.
Video games

Video games based on the novel include Konami's console RPG series Suikoden and Koei's strategy game
Bandit Kings of Ancient China. Other games with characters based on the novel or were partly inspired by it
include: Jade Empire, which features a character "Black Whirlwind" who is based on Li Kui; Data East's
Outlaws Of The Lost Dynasty, which was also released under the titles Suiko Enbu and Dark Legend; Shin
Megami Tensei: IMAGINE. There is also a beat em' up game Shuǐhǔ Fēngyún Chuán (Chinese:
[53]
; 傳
lit. 'Water and Wind'), created by Never Ending Soft Team and published by Kin Tec in 1996. It was re-
released for the Mega Drive and in arcade version by Wah Lap in 1999. An English version titled "Water
Margin: The Tales of Clouds and Winds" by Piko Interactive translated and released in 2015. Some enemy
sprites are taken from other beat 'em ups and modified, including Knights of the Round, Golden Axe and
Streets of Rage.

Music

Yan Poxi, a Pingju form of the story focused on the concubine Yan Poxi, was performed by Bai Yushuang and
her company in Shanghai in the 1930s.

Water Marginised ( ⽔滸後傳 ) (2007) is a folk reggae narrative by Chan Xuan. It tells the story of a present-
day jailbird who travels to Liangshan Marsh in hope of joining the outlaw band, only to find that Song Jiang
and his men have all taken bureaucratic jobs in the ruling party.

"108 Heroes" is a three-part Peking Rock Opera (first shown in 2007, 2011 and 2014 respectively) formed
through a collaborative effort between the Hong Kong Arts Festival, the Shanghai International Arts Festival,
Taiwan Contemporary Legend Theater, and the Shanghai Theater Academy. The show combines traditional
Peking Opera singing, costumes, martial arts and dance with elements of modern music, costume and
dance.[54]

Other

Characters from the story often appear on Money-suited playing cards, which are thought to be the ancestor of
both modern playing cards and mahjong tiles. These cards are also known as Water Margin cards ( ⽔滸牌 ).

The trading card game, Yu-Gi-Oh! has an archetype based on the 108 heroes known as the "Fire Fist" (known
as "Flame Star" in the OCG) ( 炎えん星せい , Ensei) where the monsters aside from Horse Prince, Lion
Emperor, and Spirit are based on those heroes.

The Jurchen chief and Khan Nurhaci read the Chinese novels Romance of the Three Kingdoms and Water
Margin learning all he knew about Chinese military and political strategies from them.[55][56][57]

Notes
1. Other English translated names for the novel include Tale of the Marshes, Men of the
Marshes and The Marshes of Mount Liang.

References
1. Yenna Wu, "Full-Length Vernacular Fiction," in Victor Mair, (ed.), The Columbia History of
Chinese Literature (NY: Columbia University Press, 2001), pp. 627–629.
2. Toktoghan et al. History of Song, Volume 22, Biography of Emperor Huizong (Part Four).
 3. Toktoghan et al. History of Song, Volume 353, Biography of Zhang Shuye.
4. Miyamoto, Yoko. "Water Margin: Chinese Robin Hood and His Bandits" (http://www.demystifyin
gconfucianism.info/water-margin). Demystifying Confucianism. Retrieved 4 July 2018.
5. (in Chinese) 明代⽂学教案：第⼆章《⽔浒传》（之⼀） (http://blog.sina.com.cn/s/blog_47662
4c9010008qf.html)
6. Frae Ither Tongues: Essays on Modern Translations into Scots (https://www.worldcat.org/oclc/5
5630249). Bill Findlay. Clevedon [England]: Multilingual Matters Ltd. 2004. p. 21. ISBN 1-
85359-701-5. OCLC 55630249 (https://www.worldcat.org/oclc/55630249).
7. Chinese literature. Foreign Languages Press, original from University of Michigan. 1998.
p. 138.
8. "The Goriest, Raunchiest Chinese Classic of All Time" (http://asiaobscura.com/2011/11/the-gor
iest-raunchiest-chinese-classic-of-all-time.html#below).
9. Wang, Jing (1992), The story of stone: intertextuality, ancient Chinese stone lore, and the stone
symbolism in Dream of the red chamber, Water margin, and The journey to the west (https://boo
ks.google.com/books?id=49brOdOKlD0C), Duke University Press, pp. 252–254, ISBN 0-8223-
1195-X, which includes the English translation of the relevant excerpt from the novel. The
⽔滸傳 第 回 只中央⼀個⽯碑，
original text of the chapter can be seen e.g. at / 001 , starting from "
約⾼五六尺，下⾯⽯⿔趺坐 ..."
10. ⽔浒续书 (http://www.cclawnet.com/shuihu/21/mydoc177.htm)
11. 简述《⽔浒传》的成书过程与作者 (http://www.confucianism.com.cn/html/wenxue/1887695.htm
l)
12. 《⽔滸》縱橫談 (http://chowkafat.net/Fiction1.html)
13. Mann (2000), p. 1610.
14. 章培恒 中国⽂学史新著 《⽔浒传》歌颂了男性英雄，却贬低了⼥性。在《⽔浒传》中
(2014). ."
没有真正意义上的对⼥性的描写，其中所写的⼥性⼤致可分两类，⼀类是孙⼆娘、扈三娘、顾
⼤嫂这样的男性化了的⼥性，另⼀类是潘⾦莲、潘巧云、阎婆惜等“淫妇”。作者把潘⾦莲等⼥性
写成天⽣的淫贱，既不顾及社会对妇⼥（例如潘⾦莲）的迫害以及由此引起的她们⼼理上的扭
曲，⼜将对她们的迫害（例如⽯秀、杨雄的杀潘巧云）视作英雄的⾏为，这是其主要的历史局
限。⾄其成因，则是我国封建社会⻓期流⾏着的对性爱的压抑和对⼥性的歧视。"
15. 周作⼈ (1964). 知堂回想录. "在这上⾯作者似乎⽆意中露出了⼀点⻢脚，即是他对⼥⼈憎恶的程
度。"
16. "Renditions No.1" (https://www.cuhk.edu.hk/rct/pdf/e_outputs/b01/v01p099.pdf) (PDF). 1973.
"To be accurate, the world of The Water Margin does not hate the female sex as a whole. There
are individual good women commended in the book; on the other hand, traits commonly held to
be feminine shortcomings, such as pusillanimity, narrow-mindedness and naivete, have not
been singled out for stricture. What is detested here is lascivious thought and behaviour.
Women slain in the book have either committed adultery, or aided and abetted it. Slain too are
the male offenders, e.g., Hsi-men Ch'ing and P'ei Ju-hai; when heroes like Li K'uei meet a pair
of adulterous "dog and bitch", they put both to the sword without discrimination. This is actually
fairer, and more respectful, to the fair sex than what often happens in the tales of Chaucer or
Boccaccio and other medieval fabliaux, where the adulteress customarily gets away
unscathed. However, owing to the distaste for carnality, women in the novel seldom combine
beauty and virtue in their persons."
17.《⽔滸全傳 第三⼗⼆回 武⾏者醉打孔亮 錦⽑虎義釋宋江》：宋江道：「但凡好漢犯了『溜
·
⾻髓』三個字的，好⽣惹⼈恥笑。 ……」
18.解舒淇 另⼀种丑化 以扈三娘、孙⼆娘、顾⼤嫂为考察对象
(2007). " —— " (http://gb.oversea.cnki.
net/KCMS/detail/detail.aspx?filename=CJZG200703024&dbcode=CJFD&dbname=cjfd2007).
⻓江⼯程职业技术学院学报 (3): 67–70.
19.潘星晔 《⽔浒传》⼥性观探究
(2013). (http://gb.oversea.cnki.net/KCMS/detail/detailall.aspx?fil
曲⾩师范⼤学
ename=1013259231.nh&dbcode=CMFD&dbname=CMFD2013) (Thesis). .
20. 孙述宇 (2011). ⽔滸傳: 怎样的强盗书 (http://www.apabi.com/julaccdc/pub.mvc?pid=book.detail
&metaid=m.20110811-YPT-889-0128&cult=TW) (in Chinese). 上海: 上海古籍出版社.
OCLC 876870757 (https://www.worldcat.org/oclc/876870757).
21. Idema, W. L. (1997). A guide to Chinese literature (https://www.worldcat.org/oclc/39106374).
Lloyd Haft. Ann Arbor: Center for Chinese Studies, University of Michigan. p. 203. ISBN 978-0-
89264-123-9. OCLC 39106374 (https://www.worldcat.org/oclc/39106374).
22. Hu Shih. Research on Water Margin ( ⽔滸傳考證 ).
23. Wilkinson, Endymion Porter (2013). Chinese history : a new manual (https://www.worldcat.org/
oclc/792887523). Harvard University. Asia Center (2nd rev. ed.). Cambridge, MA: Harvard
University Asia Center. p. 413. ISBN 978-0-674-06715-8. OCLC 792887523 (https://www.world
cat.org/oclc/792887523).
24. Crossley, Pamela Kyle; Rawski, Evelyn S. (June 1993). "A Profile of The Manchu Language in
Ch'ing History" (https://www.jstor.org/stable/2719468). Harvard Journal of Asiatic Studies. 53
(1): 63. doi:10.2307/2719468 (https://doi.org/10.2307%2F2719468). JSTOR 2719468 (https://w
ww.jstor.org/stable/2719468).
25. Early modern Japanese literature : an anthology, 1600-1900 (https://books.google.com/books?i
d=RJ4nUp-iOswC&pg=RA1-PA564). Haruo Shirane. New York: Columbia University Press.
2002. p. 564. ISBN 0-231-50743-7. OCLC 213305152 (https://www.worldcat.org/oclc/21330515
2).
26. Early modern Japanese literature : an anthology, 1600-1900 (https://www.worldcat.org/oclc/213
305152). Haruo Shirane. New York: Columbia University Press. 2002. pp. 555–886. ISBN 0-
231-50743-7. OCLC 213305152 (https://www.worldcat.org/oclc/213305152).
27. Early modern Japanese literature : an anthology, 1600-1900 (https://www.worldcat.org/oclc/213
305152). Haruo Shirane. New York: Columbia University Press. 2002. p. 13. ISBN 0-231-
50743-7. OCLC 213305152 (https://www.worldcat.org/oclc/213305152).
28. Early modern Japanese literature : an anthology, 1600-1900 (https://www.worldcat.org/oclc/213
305152). Haruo Shirane. New York: Columbia University Press. 2002. pp. 656–886. ISBN 0-
231-50743-7. OCLC 213305152 (https://www.worldcat.org/oclc/213305152).
29. Guth, Christine (2004). Longfellow's tattoos : tourism, collecting, and Japan (https://www.worldc
at.org/oclc/53477203). Seattle: University of Washington Press. p. 147. ISBN 0-295-98402-3.
OCLC 53477203 (https://www.worldcat.org/oclc/53477203).
30. Klompmakers, Inge (1998). Of brigands and bravery : Kuniyoshi's heroes of the Suikoden (http
s://www.worldcat.org/oclc/39162440). 国芳 (1797-1861)歌川 . Leiden: Hotei Pub. ISBN 90-
74822-08-8. OCLC 39162440 (https://www.worldcat.org/oclc/39162440).
31. Au Bord De L'eau: Shui-Hu-Zhuan. (Paris: Gallimard, Bibliotheque De La Pleiade, 1983). 2
vols. ISBN 2-07-010910-0 (v. 1) ISBN 2-07-010911-9 (v. 2).
32. The water margin : outlaws of the marsh (https://www.worldcat.org/oclc/436027537). Nai'an,
approximatelyapproximately 1365 Shi, J. H. Jackson, Edwin Lowe (1st ed.). North Clarendon,
Vt: Tuttle Pub. 2010. ISBN 978-0-8048-4095-8. OCLC 436027537 (https://www.worldcat.org/ocl
c/436027537).
33. Outlaws of the marsh (https://www.worldcat.org/oclc/6863157). Shi Nai'an, approximately 1365,
Luo Guanzhong, approximately 1400, Sidney Shapiro. Beijing: Foreign Languages Press.
1981. ISBN 0-253-12574-X. OCLC 6863157 (https://www.worldcat.org/oclc/6863157).
34. Nai'an Shi, Guanzhong Luo, John Dent-Young and Alex Dent-Young. The Marshes of Mount
Liang: A New Translation of the Shuihu Zhuan or Water Margin of Shi Naian and Luo
Guanzhong. (Hong Kong: Chinese University Press, 5 Vols,1994–2002). Vol 1 ISBN 978-962-
201-602-6 Vol 2 ISBN 978-962-201-751-1 Vol 3 ISBN 978-962-201-847-1 Vol 4 ISBN 978-962-
201-989-8 Vol 5 ISBN 978-962-201-990-4.
35. Hedberg, W. (2020). SINOPHILIA, SINOPHOBIA, AND VERNACULAR PHILOLOGY IN
EARLY MODERN JAPAN. In The Japanese Discovery of Chinese Fiction: The Water Margin
and the Making of a National Canon (pp. 25-53). New York: Columbia University Press.
doi:10.7312/hedb19334.6
36. Hedberg, W. (2020). HISTORIES OF READING AND NONREADING: Shuihu zhuan as Text
and Touchstone in Early Modern Japan. In The Japanese Discovery of Chinese Fiction: The
Water Margin and the Making of a National Canon (pp. 54-94). New York: Columbia University
Press. doi:10.7312/hedb19334.7
37. Qian, Cai, active;錢彩 , active (1995). General Yue Fei : a novel (https://www.worldcat.org/oclc/
34896897). Hong Kong: Joint Pub. (H.K.) Co. p. 39. ISBN 962-04-1279-6. OCLC 34896897 (htt
ps://www.worldcat.org/oclc/34896897).
38. Hsia, Chih-tsing (2004). C.T. Hsia on Chinese literature (https://www.worldcat.org/oclc/2133050
50). New York: Columbia University Press. p. 149. ISBN 0-231-50347-4. OCLC 213305050 (htt
ps://www.worldcat.org/oclc/213305050).
39. Børdahl, Vibeke. Four Masters Of Chinese Storytelling: Full-length Repertoires Of Yangzhou
Storytelling On Video. Nordic Institute of Asian Studies; Bilingual edition, 2004 (ISBN 87-
91114-64-0), pg. 166
40. Hsia: pp. 448–449, footnote #31
41. " 'The Japanese Discovery of Chinese Fiction': A literary classic's outsize impact on Japan" (htt
ps://www.japantimes.co.jp/culture/2020/02/22/books/book-reviews/japanese-discovery-chinese
-fiction-literary-classics-outsize-impact-japan#.XsL-oWhKi70). The Japan Times. "Remarkably,
it [Water Margin] also remained for a long time largely incomprehensible to its readers. For
centuries, classical Chinese united the intellectual elites of East Asia, much as Latin did in
Europe. But the kind of popular fiction that entered Japan from the 17th century was written in
the vernacular [Chinese], a tongue that only a tiny minority of Japanese interpreters in the port
city of Nagasaki understood. For most others, it might as well have been Greek. Understanding
this type of fiction required a serious commitment, and a variety of reference guides and
dictionaries were published in Japan to facilitate its reading."
42. Theo D'haen; David Damrosch; Djelal Kadir, eds. (2011). The Routledge Companion to World
Literature (https://www.worldcat.org/oclc/769432607). Routledge. pp. 464–475.
ISBN 9780415570220. OCLC 900201453 (https://www.worldcat.org/oclc/900201453). "During
the Edo period (1603-1868), when early modern Japanese fiction was developed, its greatest
influence came from Chinese vernacular fiction."
43. Shi, Nai'an (2007). Ng, Keng Yeow (ed.). Water Margin Compact Classic (https://books.google.
com/books?id=7oPpAgAAQBAJ) (reprint ed.). Asiapac Books. ISBN 978-9812294586.
Retrieved 22 August 2018.
44. "All about movies, games, gambling and martial arts" (http://www.kungfucinema.com/).
Retrieved 15 June 2021.
45. Dragon's Den UK (http://www.dragonsdenuk.com/reviews/water_margin.htm)
46. The Delightful Forest (https://www.imdb.com/title/tt0068821/) at IMDb
47. Tiger Killer (https://www.imdb.com/title/tt0084922/) at IMDb
48. All Men Are Brothers: Blood of the Leopard (https://www.imdb.com/title/tt0105400/) at IMDb
49. BFI Entry (https://web.archive.org/web/20121022063229/http://ftvdb.bfi.org.uk/sift/series/40004)
50. "Originally screened on British TV in 1976" (http://fabulousfilms.co.uk/site/Home/Index.htm)
銀河神⾵ジンライガー
51. " » Story" (http://jinraiger.com/story). Jinraiger.com. 9 April 2014.
Retrieved 20 May 2014.
新 始動！アニメ『銀河神⾵ジンライガー』制作決定、モチーフは⽔滸伝 おたくま経済新
52. " J9 |
聞 " (http://otakei.otakuma.net/archives/2014040810.html). Otakei.otakuma.net. 8 April 2014.
Retrieved 20 May 2014.
東亜】 アジア版
53. "【MD/ ⽤ カートリッジ 年頃〜 ⾮ライセンス
MEGA DRIVE ROM Vol.2 (1989 )≪
≫" (http://blogs.yahoo.co.jp/rig_veda/60655515.html).
54. "Brave new sequel" (http://www.taipeitimes.com/News/feat/archives/2011/06/10/2003505396).
Taipei Times. 10 June 2011.
55. Parker, Geoffrey (2013). Global Crisis: War, Climate and Catastrophe in the Seventeenth
Century (https://books.google.com/books?id=gjdDP15N4FkC&q=three+kingdoms+nurhaci+ro
mance&pg=PT801) (illustrated ed.). Yale University Press. ISBN 978-0300189193.
56. Swope, Kenneth M. (2014). The Military Collapse of China's Ming Dynasty, 1618-44 (https://bo
oks.google.com/books?id=WRaoAgAAQBAJ&q=three+kingdoms+nurhaci+romance&pg=PA1
6) (illustrated ed.). Routledge. p. 16. ISBN 978-1134462094.
57. Mair, Victor H.; Chen, Sanping; Wood, Frances (2013). Chinese Lives: The People Who Made
a Civilization (https://books.google.com/books?id=agI7CwAAQBAJ&q=three+kingdoms+nurha
ci+romance&pg=PT159) (illustrated ed.). Thames & Hudson. ISBN 978-0500771471.

Further reading
John Dent-Young, "Translating Chinese Fiction: The Shui Hu Zhuan," in Sin-Wai Chan and
David Pollard, An Encyclopedia of Translation: Chinese-English, English-Chinese (Hong
Kong: Chinese University Press, 1995), 249–261. [1] (https://books.google.com/books?hl=en&l
r=&id=4fWf1WlCStcC&oi=fnd&pg=PA249&dq=Shuihuzhuan&ots=39Yx7UDoF_&sig=xvEYkV
GeS4dQYtmPTiGQMyRpQOA#v=onepage&q=Shuihuzhuan&f=false)

Ge, Liangyan (2001). Out of the Margins: The Rise of Chinese Vernacular Fiction (https://books.
google.com/books?id=zlCZrLCl6UEC&q=shi+nai%27an&pg=PA225). Honolulu: University of
Hawai'i Press. ISBN 9780824823702.
C. T. Hsia, "The Water Margin," in C.T. Hsia, The Classic Chinese Novel: A Critical Introduction
(1968; rpr. Cornell University Press, 1996), pp. 75–114.
Jenner, William (1996). "Tough Guys, Mateship and Honour: Another Chinese Tradition" (http://
www.eastasianhistory.org/sites/default/files/article-content/12/EAH12_01.pdf) (PDF). East
Asian History. Melbourne: Australian National University. 12: 1–34. ISSN 1036-6008 (https://w
ww.worldcat.org/issn/1036-6008).
Chin Shen T'an (Jin Shengtan), "Preface to 'Sui Hu' (http://www.chinaheritagequarterly.org/030/
features/pdf/Preface%20to%20Shuihu.pdf)," (translated by "T.K.C.") The China Critic (7 March
1935): 234–235. reprinted at China Heritage Quarterly
Mann, Susan (2000). "The Male Bond in Chinese History and Culture". American Historical
Review. 105 (5): 1600–1614. doi:10.2307/2652032 (https://doi.org/10.2307%2F2652032).
JSTOR 2652032 (https://www.jstor.org/stable/2652032).
⽔滸伝 (Water Margin). Yoshikawa Kojiro and Shimizu Shigeru (translators). Iwanami Shoten.
16 October 1998.
Haruo Shirane and James Brandon. Early Modern Japanese Literature: An Anthology, 1600–
1900. Columbia University Press (2002). ISBN 0-231-10990-3.
Wai-Yee Li. Full-Length Vernacular Fiction. in Victor Mair, (ed.), The Columbia History of
Chinese Literature (NY: Columbia University Press, 2001), esp. pp. 626–332.

External links
Outlaws of the Marsh: A Somewhat Less Than Critical Commentary (http://www.poisonpie.com/
words/others/somewhat/outlaws/index.html)
Outlaws of the Marsh (https://chinesenotes.com/shuihuzhuan.html): Chinese text with
embedded Chinese-English dictionary
Yoko Miyamoto, Water Margin: Chinese Robin Hood and His Bandits (http://www.demystifyingc
onfucianism.info/water-margin) (2011)
(in Chinese) Article about the three major editions (http://gb2.chinabroadcast.cn/1015/2002-9-2
4/99@96216.htm)
 (in Japanese) Nicknames of the 108 heroes (http://homepage3.nifty.com/suikosai/dankin_dir/da
nkin_28.htm)
(in Japanese) Stylized illustrations of the 108 heroes (http://www.suikoden.com)
Steve Donoghue. Book Review: The Water Margin (http://www.openlettersmonthly.com/book-re
view-the-water-margin/). Open Letters Monthly.

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