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It has introduced readers to some of the best-known characters in Chinese literature, such as Wu Song, Lin Chong, Pan Jinlian, Song Jiang and Lu Zhishen. Water Margin also exerted a significant influence on the development of fiction elsewhere in East Asia, such as on Japanese literature.
This was a major argument in favor of the eight-legged essay, arguing that it were better to eliminate creative art in favor of prosaic literacy. In the history of Chinese literature, the eight-legged essay is often accused by later Chinese critics to have caused China's "cultural stagnation and economic backwardness" in the 19th century. [1] [2]
The first two known history books about Chinese literature were published by Japanese authors in the Japanese language. [80] Kojō Tandō wrote the 700 page Shina bungakushi (支那文学史; "History of Chinese Literature"), published in 1897. Sasakawa Rinpū wrote the second ever such book in 1898, also called Shina bungakushi. [81]
What the Master Would Not Discuss (Zibuyu), alternatively known as Xin Qixie, is a collection of supernatural stories compiled by Qing Dynasty scholar and writer Yuan Mei. [1]
Classical Chinese [a] is the language in which the classics of Chinese literature were written, from c. the 5th century BCE. [2] For millennia thereafter, the written Chinese used in these works was imitated and iterated upon by scholars in a form now called Literary Chinese , which was used for almost all formal writing in China until the ...
The debate on traditional Chinese characters and simplified Chinese characters is an ongoing dispute concerning Chinese orthography among users of Chinese characters. It has stirred up heated responses from supporters of both sides in mainland China, Hong Kong, Macau, Taiwan, and among overseas Chinese communities with its implications of political ideology and cultural identity. [1]
The eponymous title Baopuzi derives from Ge Hong's hao (號), the hao being a type of sobriquet or pseudonym. Baopuzi literally means "The Master Who Embraces Simplicity;" [1] compounded from the words bao meaning "embrace; hug; carry; hold in both arms; cherish"; pu meaning "uncarved wood", also being a Taoist metaphor for a "person's original nature; simple; plain"; and, zi meaning "child ...
The context in these places shows that the meaning is "to kill", not "to bury alive". The character in earlier texts meant "pit, moat" and then took on the meaning of "to trap and kill". Sima Qian used it to describe the annihilation of an enemy army. The misunderstanding came in later dynasties when the meaning of "to bury alive" became common ...