Three Kingdoms Performing Yi

Three Kingdoms Performing Yi

By Jianguo Wu

A prospective curriculum to provide Australian students studying Chinese language to be nurtured with Chinese traditional culture and history backdrops

 Abstract

 

An upright and unselfish heart – the case for a modern Chinese-Australian curriculum

 

Learning the Chinese language is a challenge as difficult as the worst Sudoku nightmare. I have listened to concerns from Chinese language students from non-Chinese speaking backgrounds, as well as those whose background is Chinese, both have said that learning the language without cultural and historical insight redoubles the difficulty.

 

Language is story and story demands context. The stories of Australia’s own indigenous Dreamtime are beautiful and moving but best shared and learned with some understanding of the beliefs and the skills of the people who wrote them.

The same can be said of any language, but especially Chinese, where vocals and inflections are rich and nuanced and script is at once both decorative and intimidating.

 

It is in this spirit that I propose a new approach to the study of the Chinese language. Integral to that approach is a method that sets this remarkable tongue in its cultural and historical context. It is only when a student has grasped the core of Chinese – or any – culture they can begin to learn its words.

Chinese is not only a language, but also a culture that can deeply embody Chinese cultural colour.

 

Chinese characters can be deceptively simple, yet contain layers of complex meaning relating to Chinese culture. Take, for example, 忠(zhōng), the character for loyalty or fidelity. 忠 is composed of 中 at the top, which means middle or fairness, and 心 at the bottom, meaning heart or sincerity. Put together, the character symbolizes keeping an upright and unselfish heart.

 

An ancient Chinese adage alludes to the practice of 忠: “A prince should employ his ministers according to the rules of propriety; while ministers should serve their prince with faithfulness.” Men of virtue will work for the country with a fair and dedicated heart full of 忠.

 

There is no better way to exemplify these values, so integral to any study of Chinese language and history, than by teaching one of the greatest of all Chinese novels, Romance of the Three Kingdoms, as a text.

 

1.      Issues for teaching and learning the Chinese language

With China's rapid economic development and increasing international communication, the value of Chinese is rising and the necessity to learn Chinese language is expanding all over the world.

However, being from a country with 5000 years’ history and civilization, Chinese language has strong connections with its culture.

Chinese is not only a language, but also a culture that can deeply embody Chinese cultural colour. It focuses on meaning, the language of the meaning of the "God" control the "shape", stabilize the "shape", to explain the "shape", that is, "the rule of God."

As a Chinese educator, I have often heard concerns from Chinese language learners that it is necessary to learn about Chinese history, traditional culture and civilization to learn Chinese language well. As Troy George, an Australian Chinese language learner said: “The study of the Mandarin language and the Chinese people in general, opens the way for foreigners to understand the diverse and complex fields of Chinese society, for example: Modern and ancient Chinese politics, their vast economy, ancient history and language. For myself, to study the history of China, means to study an ancient culture and its people. In its 5000 years of history, Chinese civilization has offered a legacy of novels, many short stories, films and paintings. These works reflect the values, conflicts, and the struggles of the Chinese people and offer insights into this ancient civilization.”

That is to say, only when a Westerner has mastered the ideological core of Chinese culture can he/she look at a Chinese person with understanding, with penetration, and with precision.

This proposal is for a curriculum designed for Chinese language teachers. It aims to explore an effective way to teach and learn Chinese traditional culture and civilization through teaching Romance of the Three Kingdoms, a classic historical novel of enormous influence, and widely known in China as one of the four great Chinese classic novels. It is arguably the most widely read historical novel in late imperial and modern China.

2.      Chinese language, culture and history

As stated above, “Chinese is not only a language, but also a culture that can deeply embody Chinese cultural colour.”

Chinese characters can be deceptively simple, yet contain layers of complex meaning relating to the Chinese culture, such as 忠（Zhōng), the character for loyalty or fidelity.

忠 is composed of “中” on the top, which means middle or fairness. At the bottom is “心”, meaning heart or sincerity. Put together, it symbolizes keeping an upright and unselfish heart.

An ancient Chinese adage alludes to the practice of 忠: “A prince should employ his ministers according to the rules of propriety; while ministers should serve their prince with faithfulness.”

Men of virtue will work for the country with a fair and dedicated heart full of 忠.[m1] 

3.      The expectations of new diasporic Chinese-Australian parents

Nowadays, many Chinese film makers have made many films and TV drama series about historical stories and legends adapted from the four great Chinese classic novels such as the four great pillars of Chinese literature (Journey to the West, Outlaws of the Marsh, and Dream of the Red Chamber, The Romance of the Three Kingdoms) and others). Many of the parents of new diasporic Chinese-Australians would like to watch these films and TV drama series in their Australian homes and their young children who were born in Australia would show strong interest in these stories and would ask many questions of their parents when they see their parents watching these series. Answering such questions like “who is Zhuge Liang (one of the leading characters of Romance of the Three Kingdoms)?” The parents can only simply answer, “He was the wittiest man.” “Why was he the wittiest man?” The young generation wants to know more.

It is my belief that the parents wish to tell more to their children and wish their children to inherit their Chinese cultural heritage by learning about the traditional Chinese value systems, beliefs, traditions and lifestyles. Through the ancient classics they can learn the rituals to strengthen moral character to establish good moral concepts, and contribute to the spiritual dimension of growth.

However, what the parents know about the Cultural Heritage is limited because most of them grew up during the Cultural Revolution period when traditional Chinese culture and values were destroyed and criticized through the campaigns of Breaking four old and of criticizing Confucius, and when traditional Chinese culture and values were banned in schools. Most Australian schools concentrate on teaching Chinese language rather than Chinese Cultural Heritage.

4.      Why Romance of the Three Kingdoms

How is it possible to learn some Chinese historical backdrop, traditional culture and civilization in an effective way? The five thousands years’ history, culture and civilization have very rich and abundant content.

In the practice of teaching Chinese language to Australia born young Chinese, I have explored an effective way to teach and learn Chinese traditional culture and civilization through teaching Romance of the Three Kingdoms, as a text. Romance of the Three Kingdoms is a classic historical novel of enormous influence and is widely known in China as one of the four great Chinese classic novels. As an Australian Chinese language learner Andrew Nest said, “The story of(Romance of the Three Kingdoms), part historical, part mythical, is perhaps the most popular of all Chinese novels, and likened in its importance to Shakespeare in a Western context. Through the text, students will learn to better understand and appreciate Chinese culture, which will in turn serve as a stimulating backdrop for studying the Chinese language.”

5.       Core of Chinese culture

Since ancient times, China has been known as the “Celestial Empire.” This refers not only to China’s strength and position as East Asia’s Middle Kingdom, it also captures a more profound meaning, describing a land where the divine and mortal once coexisted. It refers to the belief that the divine, through various dynasties, transmitted a rich and abundant culture to the Chinese people. Chinese culture is thus known as “divinely inspired,” and is the only culture in the world to have a continuous recorded history of 5,000 years. It has left behind countless literary classics, historical documents, cultural relics, and national records reflecting its immense scope.

Chinese culture is said to have begun with the Yellow Emperor, over 5,000 years ago. He was a cultivator of the Tao (or the Way), and was said to have great power and wisdom. He taught his subjects how to live in accordance with the heavenly Way. Ancient Chinese legends speak of many deities who passed on to humans essential elements of culture. For example, Cangjie created Chinese characters, Shennong imparted agriculture, and Suiren revealed the uses of fire.

Taoist thought, considered a wellspring of Chinese culture, was systemized by the sage Lao Zi over 2,500 years ago in his book Dao De Jing (Tao Te Ching). The book expounds on the mysterious Way of the universe, which he calls the Tao.

In 67 C.E., Buddhism reached China from ancient India. Its focus on personal salvation and meditation had a profound effect on Chinese culture, lasting until today. It was during the Tang Dynasty (618 C.E.–907 C.E.) that religious practice in China reached its peak, an era often seen as the pinnacle of Chinese civilization.

Under the influence of these faiths, Chinese culture has generated a rich and profound system of values. The concepts “man and nature must be in balance,” “respect the heavens to know one’s destiny,” and the five cardinal virtues of benevolence, righteousness, propriety, wisdom, and faithfulness (ren yi li zhi xin) are all products of these three religions’ teachings. These principles have constantly played out over China’s 5,000-year-long history.

“The empire, long divided, must unite; long united, it must divide. Thus it has ever been.” - opening lines of Romance of the Three Kingdoms.

6.      A brief summary of Romance of the Three Kingdoms

Early in the third century the once-glorious Han Dynasty was in its twilight. Those who would cast themselves as China’s next rulers had brought the empire to the brink of war. Court eunuchs were scheming, rulers falling, and great heroes being born in epic combat. The people of China, longing for peace, were wondering what would become of their lives as war raged across the land. The dynasty seemed to have lost its “Mandate of Heaven”—what now?

This is the backdrop for the literary classic Romance of the Three Kingdoms, one of the four great pillars of Chinese literature. Its fourteenth century author, Luo Guanzhong, draws upon history and folklore to create a colourful tale that showcases the era’s political and social affairs.

Moreover, it is considered a guidebook to military strategy that has been likened to Sun Tzu’s The Art of War. Through its pages, readers meet dozens of iconic characters from history, and witness battles of every scale. Three Kingdoms is at the core of Chinese cultural identity and, especially, the concept of Yi—the essential glue that binds a harmonious society.

The novel’s Chinese title, San Guo Yan Yi (三國演義), can also be translated as “Three Kingdoms Performing Yi.” Yi (pronounced ee) most exactly translates as “righteousness” or “duty.” However, the concept expands to encompass honour, benevolence, loyalty, selflessness, and brotherhood.

Yi explains the virtuous relationships between rulers and subjects, fathers and sons, husbands and wives, and among brothers and friends. In traditional Chinese society it was an accepted rule that no matter what happens, you must observe Yi. As stated above, The concepts of “man and nature must be in balance,” “respect the heavens to know one’s destiny,” and the five cardinal virtues of benevolence, righteousness, propriety, wisdom, and faithfulness (ren yi li zhi xin) are all products of these three religions’ teachings.

Perhaps the ultimate embodiment of Yi can be seen in the character of General Guan Yu in the Three Kingdoms. Also known as Guan Gong, later generations erected temples in his memory and worshiped him as "the God of War." And yet, along with his flowing beard, it is his indomitable spirit of Yi that makes him most memorable. Faced with likely defeat, the once unbeatable warrior uttered the immortal lines:

Should the city walls fall, it means death, that’s all. Jade can be shattered, but you cannot change its whiteness. Bamboo can be scorched, but its joint cannot be destroyed. The body might perish, but the name will live on for posterity.

In order to protect his lord Liu Bei’s family, Guan Yu once allowed himself to be captured by the merciless enemy, Cao Cao. Cao Cao, who had long admired Guan Yu’s abilities as a warrior, tried coaxing him to his side with gold, titles, and prized horses. A weaker man would have easily given in, but Guan Yu took the first chance to escape. He braved great danger and overcame injury to safely return his sworn brother’s family to him.

Still, he never forgot the generosity that, Cao Cao, though an enemy, had shown him. Years later Cao Cao was defeated at the “Battle of Red Cliff” and was running for his life with what was left of his decimated army. Guan Yu was sent to finish him off and intercepted Cao Cao at a narrow mountain pass. Facing the mighty Guan Yu, the dishevelled and exhausted Cao Cao did not stand a chance. Guan Yu let him go.

Guan Yu, who was torn between two fates, had chosen to face certain execution for disobeying orders rather than to betray Yi by killing his former benefactor. Of course, Guan Yu was not executed, because it turns out that the strategist Zhuge Liang had specifically sent him to kill Cao Cao precisely because he knew full well Guan Yu could not get himself to do it. The strategist did so because he knew that China still needed Cao Cao to maintain a balance of three equal kingdoms, but that is another story.

The much-maligned Cao Cao, on the other hand, is an example of a leader with a poor sense of Yi. He is known for the quote, “I’d rather betray the world than let the world betray me.” His personal philosophy becomes apparent in one scene where a pursued Cao Cao takes refuge with his father’s sworn brother. While his friend is out on an errand, Cao Cao overhears servants sharpening knives and discussing a kill. Cao Cao’s paranoia is piqued and he murders the entire family. He then discovers they were only preparing to slaughter a pig for his grand welcome dinner. When his old friend, the lord of the house, returns Cao Cao realizes he will be held accountable. So he uses the who’s-that-behind-you trick and stabs his host.

With protagonists shining with Yi and antagonists sorely lacking Yi, Three Kingdoms, like Guan Yu, leaves a most important lesson for posterity. Not only has it has had a profound impact on Chinese culture and society, the novel offers a glimpse into an ancient world of moral courage and righteousness, with the glue of Yi that held it together.

7.      Teaching Methodology

In order to help students to easily understand the complex fields of the ancient court eunuchs’ scheme, iconic characters in the story, some innovative teaching methods were used for teaching the Three Kingdoms including:

1. Massively using the quality TV drama series to help the students understand the story through the images of moving scenes.
2. Simplifying (or Modifying) the classic language from the original novel to modern Chinese language in the text.
3. By means of arts, creating some small dramas based on the characters’ dialogues from the text and encouraging the students to perform some of the characters from the novel which could stimulate students’ interest in the stories, know and understand the characters and the connotations behind them more intensively.

1. A practised case in teaching the Three Kingdoms

In the beginning when I started to teach the Three Kingdoms, the students I was facing were high school students whose parents are new diasporic Chinese-Australians, who had been born and educated in Australia and who had had their primary socialisation as well as initial literacy development and primary schooling in Chinese, and who used Chinese at home.

I started by offering the English version of Romance of the Three Kingdoms and asked them to read it from the beginning. However, the beginning parts of the novel entail the complex fields of the ancient court eunuchs’ scheme, iconic characters in the story, and it was very difficult for them to follow. For two or three months, they could read only a few pages but showed no interest in continuing to read more. I then offered a single episode (in English) about the most interesting and extraordinary story from the novel: “Borrowing Arrows with Boats of Straw”:

"Borrowing arrows with straw boats" (Cǎo chuán jiè jiàn 草船借箭) is the 34th episode of the 1994 historical fiction series A Romance of Three Kingdoms. In the episode, the strategist Zhuge Liang feigns an amphibious invasion against Cao Cao's navy, while also employing fog to give Cao's Admirals suspicion of a feigned retreat into an ambush should they attempt to rout and pursue Zhuge's fleet. Being thus disinclined to order their forces to leave dock, Cao's admirals order the firing of arrows at the invading ships. However, Zhuge's true intention was to capture the arrows in this manner, thereby drawing enemy fire and then collecting the arrows as they landed on the ships.

Our students quickly finished reading the episode with strong interest. I then showed them the TV drama of “Borrowing Arrows with Boats of Straw”. Although the drama was in Chinese, it was not difficult for them to understand because they already knew the whole story. After reading and watching the episode, the story of “Borrowing Arrows with Boats of Straw” has aroused great interest in them, not only for the story of “Borrowing Arrows with Boats of Straw”, but also for the whole novel. They then got motivated and became willing to learn more about the Three Kingdoms. I then offered them the text (Chinese version) for the “Borrowing Arrows with Boats of Straw” for them to develop their literacy. This text was from the original novel which was in the classical Chinese language. I had simplified it into modern Chinese for them. As a Chinese writer who has published many articles in Chinese language media, I have such skills to modify classical Chinese to modern Chinese language. And also, in today’s China, many secondary schools are using texts which modified the Classical Chinese language from the original novel of the Three Kingdoms into modern Chinese to teach students in their literacy lessons. So these texts could be good reference material for me to select the text and modify the language.

I then used the text of “Borrowing Arrows with Boats of Straw” for literacy development, asking the students to read through and mark the words or the phrases which were new for them and difficult for them to understand. I taught them to be able to read and write and create sentences with the new words and phrases. This enabled them to learn more new Chinese words and phrases. After that, I rewrote the dialogue from the text as a drama script and asked each of them to perform a character to read the lines. There are also some sentences describing the action of the story. As a published playwright, I have the skills to write a drama script from a story. In the process of performing the drama, I would raise some questions from the story for them to discuss and direct them to perform well to the character’s character, such as, how to show Zhuge Liang’s confidence and wisdom when performing, which would enable them to understand more about the characters. The questions also covered some culture issues and history backdrops as well as writing skills. An another question like how and why Zhuge liang could predict there would be a strong fog three days before. The discussion of this question could involve the issues about ancient Chinese astronomy. Ancient China has four traditional disciplines: astronomy, mathematics, medicine, agriculture. As the ancient Chinese astronomy is very developed, a number of its achievements have been ahead of the rest of the world. The concepts “man and nature must be in balance,” “respect the heavens to know one’s destiny,” have had great influence on the development of ancient Chinese meteorology.

China's ancient meteorology and astronomy, while observing the sky, at the same time, observe the weather. So the ancient astronomical and meteorological research is often integrated, and the division of labour is closely related across the two disciplines. To some extent it can also be said that ancient Chinese advanced astronomy promoted the development of meteorology. Zhuge liang was described as both meteorologist and astronomer in the novel.

The author of Three Kingdoms, Luo Guanzhong, believed that the fate of every nation is etched in the stars, and that humans are very limited in their ability to affect the grand flow of history. However, he also believed that if people are upright and virtuous, we are able to accomplish tremendous things, bringing glory to ourselves and our families, leaving a shining legacy that transcends the ages.

It is my observation and belief that, through learning the text of the Three Kingdoms. our students, Australian born Chinese children who were nurtured and affected by this culture that was fully assimilated into the content of Yi, learned that humans are very limited in their ability to affect the grand flow of history and that if people are bringing glory to themselves as upright and virtuous, they are able to accomplish tremendous things, both for themselves and their families, leaving a shining legacy that transcends the ages and showing that creativity and empathy are building blocks for prosperity and peace. In the end, they were not only able to watch the films and TV Series about Chinese historical stories and legends together with their parents, but also talk about these stories and legends with their parents at the family dinner table.

The Australian Curriculum for Languages recognises that students bring their own linguistic and cultural background to their learning, so this prospective curriculum aims at developing students’ Chinese cultural background which has influenced them from books, films and their parents’ chats to become successful Chinese language learners, confident and creative individuals, with thoroughgoing understanding of the Chinese cultural characteristics, cultural personality, cultural behaviour and cultural psychology and understanding of China’s civilization, its evolution, and underlying cultural values.

 [m1]This is the precise same text as in the abstract above. You may need to expand upon it.

---

---