Stories/ 夷坚志/ The Woman With the Cat

The Woman With the Cat

陽臺虎精

SourceYijian Zhi (Record of the Listener)
AuthorHong Mai
EraSouthern Song dynasty · 12th century
Writtenc. 1160–1200
MonsterWomenTransformation
A woman with a tall horn-shaped bun, bluish unpainted face and red eyes, carrying a tabby cat, keeping pace with horses on an empty post road at dawn
Illustration generated by AI, based on the ancient Chinese text.

From the islet at Ezhou to Xiangyang is seven hundred li. After the wars the long road was a waste, with no inhabitants anywhere. Only the garrison armies, every twenty li, had set up a flying-arrow horse post to carry documents; and every seventy or eighty li there was a rest-house for troops on the move, which travelling officials also lodged in.

In the sixth year of the Qiandao era, Jiang Tongzu, an officer on the staff of the Huguang commissariat, was going from Ezhou to Xiangyang and came by Hanchuan to the post-house at Yangtai. The mosquitoes worried him all night and he could not sleep, so he told his men they would start at the first cockcrow.

“This is the most desolate place there is,” the post clerk said to him. “There are many fierce tigers here, and there has long been a tiger-spirit that harms people. Not long ago a military officer rode out before dawn, and both he and his horse were eaten. You would do well to wait until you can see the colours of things before you take the road.”

Jiang did as he was told.

On the way back he had to pass through Ying prefecture and put up there again. He set off early, three riders with the yamen runners and two soldiers, and presently he was aware of men and horses shying. Far off he saw something yellow racing through the grass, and his heart turned over. As they came near it turned out to be a huge deer, the size of an ox — and he was frightened enough by that.

Half the stage on, a woman appeared suddenly in front of his horse. She might have been forty or fifty. Her hair was wound in a single horn of a bun; her face was faintly blue; she wore no paint or powder. Her eyes were absolutely red, and most dreadful to look at. She had a brown jacket on, a blue skirt, straw sandals trailing, and she carried a small tabby cat in her arms. Now behind, now in front, she followed without ever letting go. When they came to set down their loads for the night, she was not there.

Jiang thought to himself: is this not what they call the tiger-spirit? And he said nothing of it to anyone.

At daybreak he was for going east, and one of the post soldiers said: “Yesterday we found two tiger cubs on the left of the road, not able to walk yet. Would you like them, sir? We would give them to you.”

Jiang laughed. “Why should I rear tigers to trouble myself with afterwards?” he said, and did not take them.

Two nights later, crossing the river from Hanyang with several others in the boat — she was there. Her face, her clothes, everything as before. A woman travelling alone, Jiang thought, and she can keep up with a galloping horse. He was more afraid than ever, and sat in his sedan with the blind down and his eyes shut, not daring to look at her straight.

He had been home nearly a month when he heard gongs and drums and shouting in the street outside, and some thousands of people, gentle and simple, ringed round as though a dangerous bandit were being marched through. He went out to look.

It was the woman again.

He asked what it was about. They told him: “For nights on end the households of the south market have been losing pigs, and losing children too, a great many. Nobody could be traced for it. But in a small inn there, this woman has lodged alone these thirty days, and never once lit a fire to cook, and has not a cash in her purse; she only keeps a cat, and now and then you can see fur and blood on its muzzle. They were sure it must be a monster, and so they took it to the authorities. Now we have her under arrest and are delivering her to the prefecture.”

The woman’s manner was entirely composed. She showed no fear at all.

In the city, the prefect Li Shouqing — a vice-minister — had her brought to the administrative hall to make a statement. She could handle the brush herself, and she wrote:

My surname is Tu. I am the daughter of a gentleman; my father was once magistrate of Yuan’an county. I was married to a man who did not suit me; he too is dead. I have no children to continue the line. I am one solitary person, drifting about, keeping myself alive as I can. The young ruffians of the market persecute me between them, and now they turn me into a beast. My wrongs could not be greater. I ask your lordship to stand by me.

Li Shouqing could not bear to press it. He had her admonished, took a bond from her, and had her escorted out of the prefecture.

She went into the tea hills of Xianning and lived among the tea-pickers’ huts. After a long time she was seen seizing and eating a farm dog, and was beaten and driven off.

After that, nobody knew where she was.

Original classical Chinese text · 原文

自鄂渚至襄陽七百里,經亂離之後,長塗莽莽,杳無居民。唯屯駐諸軍每二十里置流星馬鋪,傳遞文書;七八十里間則治驛舍,以為兵師往來宿頓處,士大夫過之者亦寓託焉。 乾道六年,江同祖為湖廣總領所幹官,自鄂如襄,由漢川抵陽臺驛。夜為蚊所撓,不得寐,戒從卒雞初鳴即起。驛吏白曰:「此地最荒寂,多猛虎,而虎精者素為人害。比有武官乘馬,未曉行,并馬皆遭啖食。今須辨色上道為佳耳。」江如其言。 歸塗過郢州,復當投宿於彼。與皂隸共三騎及兩卒前行,起差早,覺人馬辟易,遙望一黄物馳草間,心絶怖。漸近,蓋巨鹿,其大如牯牛,固已悚然。行半程,忽見一婦人在馬前,年可四五十,綰獨角髻,面色微青,不施朱粉,雙目絶赤,殊眈眈可畏。著褐衫,繫青裙,曳草履,抱小貍猫,乍後乍前,相隨逐不置。將弛擔,乃不見。江心念:豈非所謂虎精者乎?祕不語人。 拂旦欲東。鋪卒云:「昨於道左得二乳虎,尚未能動步,吾官欲之否?願以獻。」江笑曰:「吾豈應養虎自遺患?」却弗取。 又信宿,從漢陽濟江,同載數人,彼婦在焉,容貌衣服一切如初。江謂女子獨行而能及奔馬,益懼,坐轎中,下簾閉目,不敢正視。 還舍且一月,聞門外金鼓叫譟聲,士庶環集者幾千數,若部押兇盜然。出覩之,則又彼婦也。問其故,皆言:「南市人家連夕失猪并小兒甚多,物色姦竊,無有也。獨小客店内此婦人單身僦止,三經旬矣,而未嘗烟爨,囊無一錢,但謹育一猫,望其吻時有毛血沾汙,疑必怪物,是以訟于官。今我邏執送府。」婦人氣概洋洋,殊無怖色。 既入郡,郡守李夀卿侍郎使至簽廳供狀。婦自能把筆作字云:「姓屠氏,是士大夫家女,父嘗任遠安縣知縣,嫁夫不稱意,亦已死,無嗣續,孤孑一身,客游苟活。市上惡少年交相侮困,翻抵為異類,寃苦已極,願侍郎做主。」夀卿不忍窮治,姑令戒飭,責狀押出境。 遂入咸寧茶山,與采茶寮戶雜處。久之,又因搏食畜犬為人所見,箠而逐之。後不知所在。

From 《陽臺虎精》, Yijian Zhi, 丙志卷一. Translated in full. 流星馬鋪 is the courier-post system; 弛擔 means to set down the carrying-pole, i.e. to stop for the night.

Source. From Yijian Zhi (Record of the Listener) (夷坚志), by Hong Mai , c. 1160–1200. The original text is in the public domain; this English rendering and the accompanying notes are original work.
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