chinese essays

Chinese Reading Practice

Fable: 牧师和信徒 – the priest and the disciple.

• Post author By Kendra
• Post date March 27, 2023
• 7 Comments on Fable: 牧师和信徒 – The priest and the disciple

The moral of this short story, of course, is that faith burns more brightly the more people share it with each other.

• Tags Myths & Fables

Essay: 《不死鸟》The Immortal Bird by Sanmao

• Post date March 25, 2023
• 5 Comments on Essay: 《不死鸟》The Immortal Bird by Sanmao

In this tear-jerker essay, famous Taiwanese authoress Sanmao ponders on the value of her own life. It was written as she grieved the drowning of her beloved Spanish husband in 1979, and is all the more tragic in light of her suicide 12 years later.

• Tags Essays

Fable: 洗衣服 – Washing clothes

• Post date July 19, 2020
• 23 Comments on Fable: 洗衣服 – Washing clothes

In this quick lesson about judging others, we learn that those who live in dirty glass houses shouldn’t throw stones. HSK 2-3.

Short Story: 海上和床上 – On the sea and in bed

• Post date June 25, 2020
• 26 Comments on Short Story: 海上和床上 – On the sea and in bed

This dialogue between a man and a sailor drives home a quick life lesson: there’s risk in anything you do, so there’s no point in trying to avoid danger entirely. HSK 2-3.

• Tags Children's Stories

Working to get CRP back online

• Post date June 22, 2020
• 9 Comments on Working to get CRP back online

Hey crew – we’ve had some pretty nasty technical difficulties over here at CRP when moving a server. I’m working to get all these stories back online. Data was corrupted in the middle of a server switch, and the posts are a bit of a mess. Hoping to have it fixed by the end of the week. Sorry for the wait!

Fable:《和尚背女人》Monks carrying a woman

• Post date June 17, 2020
• 4 Comments on Fable:《和尚背女人》Monks carrying a woman

An elder monk gives a younger monk a quick lesson in following the spirit of the law, rather than the letter of the law. HSK 4-5.

Children’s Story:《两条彩虹》Two rainbows

• Post date June 16, 2020
• 1 Comment on Children’s Story:《两条彩虹》Two rainbows

In this cutsey-face story intended for kindergarteners, Grandma Bear (熊奶奶 – xióng nǎi nai) comes down with an illness that can only be cured by seeing a rainbow (彩虹 -cǎi hóng), and Uncle Frog (青蛙大叔 – qīng wā dà shū) jumps in to make it happen. HSK 2-3.

News: Drunk woman breaks airplane window with fist causing emergency landing

• Post date June 15, 2020
• 1 Comment on News: Drunk woman breaks airplane window with fist causing emergency landing

Binge drinking, breakups and air travel don’t mix, people. HSK 6 and up.

Fable: 郑人买履 – A man from the State of Zheng buys shoes

• 3 Comments on Fable: 郑人买履 – A man from the State of Zheng buys shoes

A not-too-bright fellow heads to the market to buy a pair of shoes. Includes a beginner’s introduction to classical Chinese. HSK 3.

Essay:《爱》Love by Zhang Ailing (Eileen Chang)

• Post date June 12, 2020
• 8 Comments on Essay:《爱》Love by Zhang Ailing (Eileen Chang)

A tragic, dreamlike little essay from writer  Zhang Ailing  (张爱玲, English name Eileen Chang) about love and destiny. This is one of her more well-known works of micro-prose, written in 1944. HSK 5-6.

Children’s Story: 完美的弓 – The perfect (archery) bow

• Post date June 11, 2020
• 5 Comments on Children’s Story: 完美的弓 – The perfect (archery) bow

A man tries to make his treasured hunting bow (弓 gōng) even more perfect than it already is, but learns an obnoxious life lesson instead. HSK 3-4.

Essay:《打人》Hitting Someone by Zhang Ailing (Eileen Chang)

• Post date June 10, 2020
• 3 Comments on Essay:《打人》Hitting Someone by Zhang Ailing (Eileen Chang)

An essay from Chinese lit diva Zhang Ailing about a scene of police brutality she witnessed in Shanghai in the 1940s. HSK 6 and up.

Story behind the idiom: 狐假虎威 – Using powerful connections to intimidate others

• Post date June 5, 2020
• 8 Comments on Story behind the idiom: 狐假虎威 – Using powerful connections to intimidate others

In this HSK 3-4 story, a crafty fox (狐狸 hú li) escapes being eaten by playing a cunning trick on a mighty tiger (老虎 lǎo hǔ).

• Tags Idioms

Mythology: 八仙过海 – The Eight Immortals Cross the Sea

• Post date June 4, 2020
• No Comments on Mythology: 八仙过海 – The Eight Immortals Cross the Sea

I’ve got a good, but challenging, read for HSK 6 readers today: the Eight Immortals mess around in the Dragon King’s domain, almost starting a cataclysm in the process. HSK 5-6.

Story behind the idiom: 邯郸学步 – Making oneself ridiculous by slavishly imitating others

• Post date June 3, 2020
• No Comments on Story behind the idiom: 邯郸学步 – Making oneself ridiculous by slavishly imitating others

A young man tries to copy the way people walk in the city of Handan (邯郸), but only succeeds in making a fool of himself. HSK 3-4.

Novels: Start reading Chinese gangster novel 《一半是火焰，一半是海水》by Wang Shuo

• Post date June 2, 2020
• 2 Comments on Novels: Start reading Chinese gangster novel 《一半是火焰，一半是海水》by Wang Shuo

In my most challenging post yet, you’ll read the first chapter of controversial literary bad boy Wang Shuo’s dark plunge into the criminal underbelly of Beijing. HSK 6+, not suitable for children.

• Tags Novels

Short story: 《卜妻为裤》Buzi’s wife makes a pair of pants

• Post date June 1, 2020
• 3 Comments on Short story: 《卜妻为裤》Buzi’s wife makes a pair of pants

A gentleman named Buzi (卜子) asks his wife (卜妻) to make him a new pair of pants (裤子), but he doesn’t give her very clear instructions. HSK 3-4.

Communist folk tales: 《水缸的秘密》- The secret of the water jug

• Post date May 29, 2020
• 4 Comments on Communist folk tales: 《水缸的秘密》- The secret of the water jug

Our last Communist-themed post for the week: a classic revolutionary-era story about the man himself, Chairman Mao. HSK 4-5.

• Tags Politics & Communism

Communist folk tales: 《朱德的扁担》- Zhu De’s Carrying Pole

• Post date May 28, 2020
• No Comments on Communist folk tales: 《朱德的扁担》- Zhu De’s Carrying Pole

Zhu De (朱德) is an early Communist folk hero, and the founder of the People’s Liberation Army (解放军), also called the Red Army (红军). This popular revolutionary story highlights his willingness to toil alongside the rank and file soldiers. HSK 3-4.

• Tags Biography , Politics & Communism

Political speech: Deng Xiaoping addresses the Hong Kong handover in 1984

• Post date May 27, 2020
• 10 Comments on Political speech: Deng Xiaoping addresses the Hong Kong handover in 1984

In June, 1984, thirteen years before the Hong Kong handover, he gave this speech, addressing critics of the “One Country, Two Systems” （一个国家，两种制度）policy, which determined China’s approach to the handover. The policy maintained that different political systems would concurrently be implemented under one government. In other words, that mainland China would remain socialist, and that Hong Kong would remain capitalist (until 2047, anyway), but both would be ultimately overseen by the CCP. It was a radical notion at the time, and it still is in many ways. His words here are a fascinating look into the past.

• Tags History , Politics & Communism

Chinese Literature: Essays, Articles, Reviews (CLEAR) is published annually.

CLEAR journal is a leading resource for Chinese Literature academic discussion worldwide and has been published for over 30 years.

Click below for two most recent CLEAR journal Table of Contents.

CLEAR History

CLEAR was created based on discussions between eight scholars‒Eugene Eoyang, Joseph S. M. Lau, Leo Ou-fan Lee, Wu-chi Liu, Irving Lo, Ronald Miao, William H. Nienhauser, Jr., and William Schultz‒from the universities of Arizona, Indiana and Wisconsin spread over the early months of 1977. The journal was formally launched at a meeting on 18 March 1977 in Irving Lo’s living room in Bloomington, IN. Over the next year the founding editors, Eoyang and Nienhauser, received grants from the American Council of Learned Societies, the Association for Asian Studies, and the three affiliated universities as well as from members of the original editorial board (especially Elling Eide and Irving Lo) and individuals (especially Nancy C. Ing), allowing the production of the first two issues in 1979. Over the years CLEAR has published symposia, essays, articles, reviews and occasional forums on all aspects of traditional and modern Chinese literature. It is still the only western-language periodical devoted to Chinese literature. Having gained a worldwide reputation and audience, CLEAR now appears annually in December under the direction of editors Haun Saussy, Michelle Yeh and Rania Huntington.

Characters on the website were written by Chow Tse-tsung (1916-2007). Copyright © 2012-2024 by CLEAR | ALL RIGHTS RESERVED | International Standard Serial Number (ISSN) #0161-9705

How to Write a Chinese Essay

Dec 16, 2020 | Guest Blogs & Media

The more essays you write, the better you get at communicating with Chinese. To write a good essay, you first have to reach a high language mastery level.

Do you admire the students who write seamless Chinese essay? If you do, then you should know that you too can achieve this level of proficiency. In the meantime, don’t be afraid to pay for your essay if you cannot write it on your own. Online academic writers are a resource each student should take advantage of.

Here are tips to help you get better at writing essays in Chinese.

Learn New Chinese Words

The key to communicating in a new language is learning as many words as you can. Take it upon yourself to learn at least one Chinese word a day. Chinese words are to essay writing what bricks are to a building. The more words you have, the better you get at constructing meaningful sentences.

Case in point, if you’re going to write a Chinese sentence that constitutes ten words, but you don’t know the right way to spell three of those words, your sentence might end up not making sense.

During your Chinese learning experience, words are your arsenal and don’t forget to master the meaning of each word you learn.

Read Chinese Literature

Reading is the most effective way of learning a new language. Remember not to read for the sake of it; find out the meaning of each new word you encounter. When you are an avid reader of Chinese literature, nothing can stop you from writing fluent Chinese.

In the beginning, it might seem like you’re not making any progress, but after a while, you will notice how drastically your writing will change. Receiving information in Chinese helps your brain get accustomed to the language’s sentence patterns, and you can translate this to your essays.

Be extensive in your reading to ensure you get as much as possible out of each article. Remember that it’s not about how fast you finish an article, but rather, how much you gain from the exercise.

Translate Articles from your Native Language to Chinese

Have you ever thought about translating your favorite read to Chinese? This exercise might be tedious, but you will learn a lot from it. The art of translation allows you to seamlessly shift from one language’s sentence pattern into the other. The more you do this, the easier it will be for your brain to convert English sentences into Chinese phrases that people can comprehend.

You can always show your Chinese professor your translations for positive criticism. The more you get corrected, the better you will get at translation. Who knows, you might actually like being a translator once you graduate.

Final Thoughts

by Adrian Lomezzo

Adrian  Lomezzo is a freelance writer. Firstly, he has been developing as a content manager and working with different websites, and the main goal of his was to develop the content making it in the first place. Secondly,  Adrian  had a big desire to help students and adults in self-development in this field and teach them to improve their skills. As a lover of traveling, he did not want to be in one place, and became a writer who could be closer to everyone, and share precious information from the corners of the world.

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Useful Chinese Essay Phrases  

  July 8, 2020

By   Ellen

Nowadays, many international students have decided to study abroad, and China has become a highly popular destination. In universities, essay writing is a basic skill and the “Academic Writing” lectures are always attracting many students to attend.

Here we have summarized some “all-purpose” phrases and sentences which hopefully you would find useful.

Chinese Essay Phrases Used in Abstracts

The abstract should explain the purpose, method, results, and conclusion of your research, also highlighting the new ideas that you proposed; and do remember to keep your language concise while writing. The purpose of the abstract is to conclude and summarize the main contents of your essay so that the reader could have a brief understanding without having to read the entire paper. Chinese abstracts are usually around 200 characters.

Research Background, Significance, and Current Situation

Extremely useful/badly needed/affecting people’s lives (1-2 sentences)

Proposing the Object of Study 

Played a very important role (1-2 sentences)

Purpose of the Study or Study Aim

The role of A in B, perhaps remains to be seen (1 sentence)

Research Methods and Results

Through what means/technique/experiment we achieved what result (several sentences)

Research Results

The phenomenon of A in B, shows what the function of B is, theoretical and applied value (1-2 sentences)

via Pixabay

Chinese Essay Phrases: Main Body

The main body includes the introduction and the main text. The introduction section could use similar phrases that we have just listed, focusing on research objects and purposes. The main text should include research methods, research results, and discussion. Writers should keep their sentences to the point and avoid rambling, also avoid using too much subjective perspective discourses, which shouldn’t be used as arguments as well.

Theoretical Basis, Approaches, and Methods

To express opinions, to emphasis, transitional expressions, chinese essay phrases: conclusion.

At the ending section of the paper, the writer should provide an objective summary, list out the future research objectives and directions, and perhaps look into the future. Keep optimistic even if your experiment results were negative.

Research Impact and Value

There you go. We hope this article helps you write amazing essays. Best of luck!

Ellen is a language specialist from China. She grew up in the US and received a master’s degree from the St Andrews University of UK. The multicultural experiences attributes to her understanding of the differences and similarities between the English and Chinese language. She currently works as an editor specialized in Language learning books.

related posts:

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The Guide to Writing Your First Mandarin Essay

When you want to be able to make writing your first Mandarin essay nice and easy, it pays to put plenty of thought and effort into the preparation. As the old saying goes ‘fail to prepare, prepare to fail.’ To give you plenty of food for thought we’ve put together everything you need to know to get things moving. All you need to do is work through the following steps, and you’ll be submitting your essay in no time at all.

Check you understand the basics

There are so many things you have to think about when writing an essay, particularly when it’s not in your native language. But as with any cognitively demanding task, the process for getting started is always the same. Check you understand the following basics and you’ll be heading in the right direction:

• Do you know what the question means?
• Have you made a note of the final submission date?
• Make sure you read some past examples to get a feel for what’s expected of you
• Do you understand the question that has been set?
• Do you know who you can talk to if you need advice along the way?
• Are there any restrictions on the dialect you should be aware of?

Once you can write the answers to the above down on a single side of the paper, you are ready to tackle the main part of the problem: putting pen to paper.

Set aside time to write

The chances are that you’re not going to be able to pen the entire essay in a single sitting, and that’s okay. It’s nothing to be ashamed of or to worry about, and it’s natural that you need to work across multiple days when writing your first essay.

If you want to be able to make great progress, the most important thing is sticking to a routine. You need to have consistency in your application, and you need to be able to know when you are at your most productive. It’s no good staying up late one night and then carrying on early the next morning. You’d be far better off writing for the same amount of time but on two successive afternoons. Think about how your studies fit in with the rest of your daily life, and then choose the time that seems most appropriate. If you box it off and decide it’s only for writing, you’ll be in a great routine before you even know it.

Clear space so you can focus

As well as having time to write each day, you need a place to write too. The world is full of distractions (most of them are digital and social) so that means you’re going to want to keep yourself to yourself, and your phone in a different room. It might seem a little boring or uncomfortable at first, but you need to practice the habit of deep work. It’s what will allow you to create the most in the shortest time — ideal if you want to have plenty of time leftover to spend doing the other things that matter to you.

Have a daily word count in mind

Telling yourself that you want to write an essay today is one thing, but if you’re really going to push yourself to stick to your goal then you need to get quantitative. If you have a word count in mind that you need to hit, then it will prevent you from giving up and throwing in the towel the minute you start having to think and concentrate more than feels normal. Just like working out in the gym, it’s the temporary moments of extra effort that really drive the big differences. It’s when you’ll see the biggest improvement in your writing ability, and the lessons you teach yourself will stay with you for years to come. Ideal if you want to become a fluent Mandarin writer, as well as an engaging face-to-face speaker.

Read widely to provide context

When you’re immersed in an essay it can be all too easy to become blinkered and fail to pay attention to everything else that’s going on around you. Of course, you want to be focused on the task at hand, but you don’t want to be single-minded to the point of ignoring other great learning resources that are just a click away.

Reading widely is one of the best ways to improve your essay writing because it exposes you to techniques and approaches used by the best of the best. You’re not expected to be able to instantly write like a native speaker after an hour of reading. But what you will be able to do with consistent application is build up confidence and familiarity with written Mandarin. Over time this will reflect on the quality and depth of your writing as you gradually improve and take onboard lessons you’ve learned.

Take a break before you proofread

Last but not least, you need to remember that essay writing is a marathon, not a sprint. It’s all about taking the time to get things written before you hand them in, not racing through to try and finish on time. If you want to get the most out of your writing you need to take a day off between finishing your draft and proofing it. That way your brain will have had plenty of time to reflect on the work you’ve produced, and you’ll be able to spot many more little mistakes and places for improvement than you would if you proofed right away.

Final Thoughts

Writing Mandarin is a challenging task that will test your language skills and make you think hard about how to apply what you’ve learned so far. It might be slow going to begin with, but that’s great as it means you’re pushing your limits and building on your existing skills. If you want to be able to master Mandarin, you need to persevere and stay the course. Once you do, you’ll start to improve a lot faster than you expect.

By Diana Adjadj | A Super Chineasian

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The chinese essay.

An Anthology

Selected and translated by David Pollard

Columbia University Press

Pub Date: September 2002

ISBN: 9780231121194

Format: Paperback

List Price: $38.00 £32.00

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In keeping with its venerable tradition of publishing scholarship on China, Columbia has produced a groundbreaking work edited by a respected Sinologist and translator. In his lengthy and useful introduction to this collection of essays by 36 Chinese authors, Pollard discusses the important differences between the Western notion of 'essay' and its Chinese version--or sanwen (everything that is not a poem)--which is steeped in the classical school curriculum....Pollard's up-to-date, lucid translations of this specialized form of prose can be read effectively as a companion piece to Elizabeth Buckley Ebrey's sourcebook Chinese Civilization and Society (CH, Jul'81) by anyone interested in serious study of Chinese history and culture. B.M. McNeal, Slippery Rock University of Pennsylvnia, Choice

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The Chinese Essay

Edited and translated by David E. Pollard

Reviewed by Charles A. Laughlin MCLC Resource Center Publication (Copyright January 2004)

David E. Pollard, editor and translator. The Chinese Essay . New York: Columbia University Press, 2000. 372 pp. US $65.00, ISBN: 0-231-12118-0 (cloth); US $24.50, ISBN: 0-231-12119-9.

The Chinese Essay is the first anthology to provide a comprehensive introduction to Chinese literary non-fiction prose from earliest times to the present. Comparable collections in print, such as Richard Strassberg’s Inscribed Landscapes: Travel Writing from Imperial China and Sang Ye’s Vignettes from the Late Ming, are restricted to the premodern period, and until now modern essay translations (often Pollard’s) have only appeared scattered in journals like Renditions and Chinese Literature and in more general anthologies like The Literature of the Hundred Flowers , The Columbia Anthology of Modern Chinese Literature , and monographs devoted to individual authors such as Zhou Zuoren and Yu Pingbo. The selections in The Chinese Essay represent most of the best-known Chinese essayists, through some of their most anthologized and well-known works. Never have premodern and modern essays been placed next to each other, and never has the considerable tradition of the modern Chinese essay been presented so richly. Pollard’s effort is commendable, and should be interesting not only to the general reader but a great boon as well to instructors of courses devoted to Chinese literature or to the essay across cultures.

Pollard has translated all of the essays himself. As a much-published translator, and author of A Chinese Look at Literature: The Literary Values of Chou Tso-jen (Zhou Zuoren, the pioneer of the modern Chinese literary essay), there could hardly be a better choice for this task. Not only are the translations faithful to the semantic meaning of the original texts (as far as I can tell), but Pollard’s clipped, dry, and often humorous style is also often perfectly suited to the spirit of the essays presented here. The anthology also includes portraits or photographs of many of the authors as well as their calligraphy or handwriting. Though not numerous, these illustrations very effectively convey the love of writing and the emphasis on personal style that tie together the many phases of the Chinese literary essay’s long tradition.

Because of the infancy of the study of the Chinese essay in English, an anthology like this and its introduction are potentially seminal statements, situating this genre in the field of Chinese cultural studies in general, justifying our interest in it, and pointing the way to avenues of further inquiry. But if The Chinese Essay answers the question, Why publish or read such an anthology?, it does so only meekly. Pollard observes that there has not been a general anthology of Chinese essays published since Herbert Giles’ 1884 Gems of Chinese Literature , so his argument begins from a gap or lack in the representation of a genre. Rather than engage with this lack critically, Pollard goes on to assert two reasons for it, almost as if to justify it, namely, the inherent difficulty of representing and discussing linguistic style in a foreign language (but why should this not have been a hindrance to the translation and circulation of other Chinese literary genres?), and the decline in prestige of the essay in the English-speaking world. Thus, in effect, rather than answering the question of why he is offering this anthology now, Pollard is simply providing convincing reasons why it had not been done before. What is missing from this explanation is why the prestige of the essay in modern and contemporary China, unlike the English speaking world, has not declined. If this book could bring the English reader around to understand the power and agency of the essay in contemporary China, despite all that has been said in our field about the overwhelming importance of fiction, it would create more than enough motivation and capacity to appreciate the importance of the contents of this anthology on its own terms, even for a general reader.

The general reader, moreover, seems to be the main target of this anthology. Yet this general-audience orientation is belied by the inclusion of Chinese characters for authors’ names and titles to works. Indeed those who would benefit from the Chinese characters (most of the likely audience of this collection) will generally want more bibliographical information, as well as some engagement with scholarship in the field such as Yu-shih Chen’s Images and Ideas in Chinese Classical Prose: Studies of Four Masters , Chih-p’ing Chou’s Yuan Hung-tao and the Kung-an School . In addition to a more in-depth and informative introduction, I think the book as a whole could have included more scholarly apparatus, including a less sketchy, multi-lingual bibliography, without harming its appeal to a general audience.

If Pollard assumes anything about his audience, it is that they are familiar with the European prose essay, which I think leaves some room for doubt especially with respect to the younger generations. The European essay was of course an important context for the modern Chinese essay, but Pollard is probably putting unnecessary emphasis on features peculiar to the European tradition (“absence of dignity,” “refining and directing sensibilities to create a polity that was new and particular,” “entertainment value,” [p. xii-xiii] “independence of thought,” [p. 7] etc.) in the effort to define the Chinese essay for the general English reader. It might have been more effective and engaging to discuss what prose essays in China are like and what they are used for, rather than comparing them (often unfavorably) to the European tradition that the reader may not be very familiar with anyway.

After detailing in the Preface negative aspects of traditional Chinese culture and literary conventions that explain why premodern Chinese essays do not resemble those of Montaigne and Bacon, Pollard does go on to list what he feels are some of the positive aspects of the Chinese essay in general: “The qualities are on the one hand common to mankind, on the other particular to Chinese literary arts. The first kind includes the expression of character in the writer, either impressively strong or appealingly weak; the expression of sentiment, usually to commemorate friends and relatives; nostalgia for past times; appeals for justice and compassion; pleasure in diversions. The second kind concerns the musicality of the language, a prime and often, regrettably, the prime requirement for approval.” Then he goes on to explain why musicality cannot be translated. Thus, all of the positive aspects of the premodern Chinese essay that are particular to Chinese literary arts are here lost in translation, and what is left is a variety of expressions of ideas and sentiments. I am not certain, but a general English readership (which has already proven itself lukewarm to Chinese fiction and poetry in translation) may not be inclined to delve into this anthology thus described. Why not say more about the extraordinary personalities and intellectual genius evinced in included works by Tao Qian, Han Yu and Su Shi, Lu Xun, Zhou Zuoren, Feng Zikai and Zhang Ailing? Why not talk about some of the larger cultural themes for which the Chinese essay served as the principal vessel, and which through the essay traditional and modern writing are linked—the cultivation of the art of living, the struggle between transcendent and worldly values, or the contrarian resistance to “political correctness” of every imaginable kind?

In an anthology with such broad coverage but short length, the editor is obliged to explain his principles for selection, and Pollard very honestly acknowledges that it would have been impossible to adhere to a single principle. I applaud his insistence that personal taste—an important theme in ancient and modern essays—was his principal guide. This accounts for his enthusiastic inclusion of essays by Gui Youguang (1506-1571) despite their criticism by the modern essayist Lin Yutang, his exclusion of Lin Yutang’s own essays, and no doubt as well the inclusion of contemporary writer Yu Qiuyu, well-known for his popular, fictionalized imaginings of significant historical moments, over those with strong links to the Republican period essay tradition like Wang Zengqi, Zhang Zhongxing and Ji Xianlin. On the other hand, in his note on sources Pollard states that “the classical prose section consists almost entirely of anthology pieces; they had to be so in order to represent the classical heritage” (369). He also states that he felt he had to include certain perennial classics (both traditional and modern) that may not have been among his favorites, even when they were available in other collections. In saying this Pollard makes it clear that he intends this collection to represent the Chinese essay with some authority and self-sufficiency, which seems out of step with his claim of using personal taste as his guide. Nevertheless, I think the resulting balance between personal taste and the need to reflect the received canon makes for a selection that both makes good reading and a good textbook.

Though Pollard alludes to wide reading in anthologies, the only one he cites is a 1987 publication, implying that anthologies tend to select the same works for each author. I am currently in the midst of a survey of anthologies of premodern essays that so far suggests to me that selections vary significantly across eras (Qing, Republican, Taiwan, Early PRC, recent PRC) for various different reasons. For example, premodern anthologies such as the seventeenth-century Guwen guanzhi generally favor formal essays of serious import that cleave to Confucian values, while more modern collections increasingly favor heterodox views, and include more “individualistic” essays on small, private matters. This is in part due to the gradual acceptance in the late imperial period that informal or casual writing possesses its own aesthetic value that can be appreciated by posterity. Moreover certain Republican period publications such as Shen Qiwu’s 1932 Jindai sanwen chao (A selection of early modern essays), Zhang Dai’s Tao’an mengyi (Dreamlike remembrance) edited with prefaces by Yu Pingbo and Zhou Zuoren, and Shi Zhecun’s 1935 Wanming ershi jia xiaopin (The Late Ming xiaopin: twenty masters) exerted an influence on the modern Chinese essay, and these could at least have been mentioned. The reader who wants to explore the Chinese essay in more detail would have benefited greatly from some guidance as to which anthologies are best, and which exerted the greatest influence.

It is interesting that The Chinese Essay , covering both premodern and modern periods, devotes the lion’s share of its space to the modern period. There are about forty pages devoted to ancient-medieval times (through the Song Dynasty), forty to late imperial times (Ming and Qing dynasties), about 170 to the first half of the twentieth century, when the modern essay came into its own, and ninety to the post-war period; thus over seventy percent of this collection is from the past 100 years. The slant in favor of modern essay has the effect of showing the reader the pre-modern essay through modern eyes, which I applaud, but the editor could have been more forthcoming about this in the introduction. If, for example, the reader took The Chinese Essay to be a general survey of the Chinese essay from antiquity to the present, it would give the impression that the essays of the twentieth century are much more important than those in the more than two millennia before. Modern Chinese essays can often be understood better through their relationships (sometimes conspicuous) with premodern literary or philosophical trends, and these relationships do not in themselves lessen the modern texts’ “modernity,” but help constitute it. In this respect, if it was in fact Pollard’s intention to present premodern essays primarily as precursors to modern ones, he could have done more in the introduction, commentary and translator’s notes to emphasize which kinds of premodern texts have particularly exerted agency in modern times, which modern texts manifest their influence, and how.

Turning to the modern period, the cavalier dismissal of prose literature under leftism and socialism is unfortunate; the development of the genre of reportage is misrepresented in the introduction as originating as anti-Japanese propaganda in the War Against Japan and developing in Communist China only to extol the Party (p. 20), and no mention is made at all of prominent lyrical essayists within the socialist camp like Qin Mu, Yang Shuo and Liu Baiyu, leading to the mistaken impression that all socialist prose is reportage. The exclusion of all of this material detracts from the anthology’s authority as a survey of the genre. As I have argued elsewhere, reportage may be looked upon as the leftist answer to the essay, but it originates as a form of revolutionary social critique in the 1930s, and its use in the War Against Japan is much broader than just propaganda. Moreover, though it would not be appropriate to include examples in the anthology, it should have been pointed out in the introduction that reportage made an important revival in the 1980s and beyond in the hands of Liu Binyan, Su Xiaokang and others; the concern for the environment that Pollard so admiringly observes in the contemporary Taiwanese essay has been one of the major themes of mainland Chinese reportage literature for at least ten years.

Another ramification of the editor’s inattention to the condition of modernity is Pollard’s explanation of the Chinese term sanwen . Pollard presents the Chinese concept as stable and unchanging, and explains its meaning entirely in terms of contrasts with European concepts. But the term sanwen was not used to denote a literary genre until modern times and even now critics and literary historians struggle with the equivocal nature of the term (“literary genre” vs. “all kinds of writing not in verse form”). It would have been helpful to put more emphasis on the particular modes or genres that the premodern works belong to (memorials to the emperor, philosophical treatises, formal and informal correspondence, prefaces and colophons, travelogues, epitaphs, biographies, etc.). This is not to say that this variety of forms ought not to be placed in a more general category under the term “sanwen,” but it is regrettable that the modern cultural process by which this was achieved receives no emphasis or attention.

Pollard’s concern here with limiting the scope of the collection to a describable form (“a free-standing, self-contained, relatively short composition” that “surfaced in the stable empire of the Han dynasty”) is, I think, unnecessarily limiting, and in fact might hamper the uninformed reader’s understanding of the broader context of the Chinese essay’s evolution. On page 2 of the introduction, Pollard makes a convincing, if somewhat defensive, argument for excluding the writings of the ancient Daoist philosopher Zhuang Zi. However, informed readers reading through the selections throughout both premodern and modern periods will easily discern the pervasiveness of Zhuang Zi’s influence in this genre. Indeed, Zhuang Zi’s playful spirit and philosophical critique of Confucianism may be described as one of the principal characteristics that distinguish the Chinese informal essay, which was the principal model for the modern literary essay, from formal prose. Similarly, though he devotes a page or so to the tremendous significance of Sima Qian’s Records of the Grand Historian as a model for the spirit and the letter of prose writing, Pollard excludes it because, “[being] a work of objective history, however, or at least attempting to be such, the author’s own comments are minimal” (4), implying that self-expression is working as a criterion for selection (see also his comments on page 5 about Cao Pi’s use of the term qi to denote “the physical underpinning of the distinctive character, or personal stamp, that an author’s writing is imprinted with”), but that self-expression can only be manifested in the form of direct “comments.” How many readers of even a few biographies from the Shi ji , though, come away from it without feeling that Sima Qian has very forcefully expressed his own views through them? A similar example is the exclusion of the Six Dynasties collection of anecdotes, Shishuo xinyu (New account of tales of the world), of which a translation by Richard Mather was published a generation ago. Like Zhuang Zi and the wealth of apocryphal writings of the Daoist tradition, Liu Yiqing’s New Account , which describes remarkable events, actions and utterances of the medieval aristocracy, though perhaps not fitting. Pollard’s criterion, was an important and frequently imitated foundation of the Chinese essay tradition.

The introductions to the sections on each author, though at times impressionistic, often include insightful analytical meditations or epigrammatic summaries of the author’s style that strike me as most apt and useful. However, I am not sure it is necessary for Pollard to separately include “commentary” and “translator’s notes” (sometimes both) before or after certain works in addition to the introductory sections on each author. Often the translator’s note will emphasize interpretation in a cross-cultural context, as in the case of Zhu Ziqing’s “View from the Rear” (Bei ying), but I feet that such considerations would have been much more effectively delivered in a critical essay that treats a variety of issues of style or interpretation, or this could have been integrated with the historical overview given in the introduction. The second of the three paragraphs of commentary on Zhuge Liang, for example, is almost identical in content to the last page of Zhuge Liang’s own text; the first paragraph of the “Translator’s Note” to Han Yu’s “Address to the Crocodiles of Chaozhou” simply reiterates the corresponding section of the biography of Han Yu given in the “Commentary” two pages before. Together with the functional overlap of the preface and introduction, the commentary and translators notes make The Chinese Essay overly complex in its multilayered contextualization of the translations and thus unnecessarily confusing.

Apart from stealing thunder from the essays themselves, the volume of notes and commentary raises an important question that plagues the translation of Chinese literature into English in general: can these texts not speak for themselves? If this collection really is intended for a general readership, I think it is safe to assume that such readers would be more interested in texts that speak directly to them without a great deal of explanation from the translator. And it is not only a question of “how much” explanation would be needed to supplement a “raw” translation; the act of translation itself imparts meaning. If scholarly semantic fidelity were relaxed to the degree that items were made easier for the general reader to relate to with a reduced amount of explanation, the potential impact of this book would be greatly enhanced.

The Chinese Essay does nevertheless fill a crucial gap in materials for courses on Chinese literature in translation. While most scholars in the field of Chinese literature are probably not going to set up a course exclusively devoted to the essay even with a comprehensive anthology available, the selections in this book would mix well with other genres and materials in a more general course. I could see using it this way in either premodern or modern Chinese literary courses, but more likely for the modern period because of the greater concentration of material there.

Charles A. Laughlin Associate Professor, Chinese Literature Department of East Asian Languages and Literatures Yale University

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Contemporary chinese short-short stories: a parallel text. reviewed by hui faye xiao.

Translated and edited by Aili Mu with Mike Smith New York: Columbia University Press, 2017 528 pages, ISBN: 978-0231181532, Paperback

The editor and translator of this volume, Dr. Aili Mu, in collaboration with Mike Smith, is a pioneering figure in introducing this delightful literary form to English readers. She has coedited and cotranslated (with Julie Chiu and Howard Goldblatt) an earlier collection, Loud Sparrows: Contemporary Chinese Short-Shorts (New York: Columbia University Press, 2006). In her tireless efforts to study this less trekked front of modern Chinese literature, Mu has spent years conducting field research in China, interviewing writers, attending cultural events promoting short-shorts, collecting, translating, and annotating representative works of the particular genre. Her hard work has congealed in this thick volume (528 pages) that has won the prestigious 2018 Association for Asian Studies (AAS) Franklin R. Buchanan book award for her great contribution not only to the field of literary studies, but also for her development of an outstanding pedagogical resource in Asian studies (grades K–16).

Contemporary Chinese Short-Short Stories: A Parallel Text includes thirty-one short-short stories in total, which are categorized under nine interlocking themes: li (ritual and propriety) and ren (humanity or benevolence), xiao (filial piety), yin-yang , governance, identity, face, (romantic) love, marriage, and yi (changes). While the first half of the themes alludes to the time-honored teachings and cardinal virtues of Confucianism, the second half resonates more with readers’ daily experiences and life concerns as modern beings living in today’s world. Each themed section opens with a short preface that explicates the meaning of the central concept in the Chinese context. Following the informative prefaced essay, three to four short-shorts are grouped together to illustrate different aspects of the central theme and its manifestation in common people’s everyday lives and aesthetic imaginations.

The short-short author’s biography at the end of each story not only helps students come up with a better understanding of the literary text, but also brings together a broad spectrum of different groups of writers. In comparison to many other anthologies of modern Chinese literature, the volume selects works of established senior writers, literary professionals working in state institutions of art and literature, and common folks from all walks of life whose names are less known to students and scholars of modern Chinese literature. The inclusion of the underrepresented group of writers sheds unusual light on common people’s aesthetic creativity, apprehensions and aspirations, and upward mobility in contemporary Chinese society.

In addition to the short introduction at the beginning of each themed section, what is equally helpful for readers of this book is a bilingual general introduction to the whole volume. The volume introduction, coauthored by Mu and Smith, identifies the central issue in the current Chinese-language teaching on American campuses: “how do we train a student who can greet a Chinese associate at the airport into someone who also understands Chinese culture well enough to develop and sustain collaborative relationships?” (xxi). Indeed, this is a question weighing on many Chinese teachers’ minds. This volume presents an experienced teacher and scholar’s unmatched effort in addressing this important question. The selected short-short stories not only demonstrate authentic samples of Chinese-language usage, but also provide a window into the fast-changing social and ethical landscape in today’s China, making this popular literary genre an appealing and accessible tool of integrating essential cultural elements and social issues with language learning for intermediate- to advanced-level students on American campuses. Hence, this volume offers great opportunities of cross-cultural exchange and communication for readers to immerse in easily and engage critically with a different linguistic and cultural environment. Mu also composed a Chinese-language user guide, “How to Use This Parallel Text to Teach Chinese Language and Culture,” included at the end of the book. It is another valuable resource of pedagogical use that generously shares sample questions, teaching methods, and classroom activities for teachers of Chinese language and literature.

Thanks to its rich content, artful translation, and innovative format, this volume can be creatively deployed as an invaluable teaching tool for a variety of courses. First and foremost, it can serve as an ideal textbook for upper-level Chinese-language instruction. Current textbooks widely used in such a class are either lacking an “in-depth systematic understanding of cultural behavior” (xxi) or often feature an outdated collection of essays and short stories composed by the May Fourth intellectuals a century ago, such as Hu Shi’s “Mother’s Words” ( Muqin de jiaohui ) and Lu Xun’s “A Small Incident” ( Yi jian xiaoshi ). These canonical works, of course, are culturally and historically meaningful readings. However, they fail to catch up with the latest changes of contemporary China or engage with a reconfiguring social reality from a grassroots perspective, and thus could hardly be appreciated by American students. The vocabulary in these pieces published at the very beginning of the baihua wen yundong (vernacular Chinese movement) also appears esoteric and impenetrable for today’s young readers.

In comparison, stories collected in this 2017 volume can offer more updated reading materials written in the standard modern Chinese language. The glossary following each short-short story highlights a set of new words, phrases, and idioms; their pinyin romanizations; English meanings; and common usage, which help students grasp the fundamental meaning of the story. The following list of questions in both Chinese and English propels students to delve into a more in-depth discussion and critical analysis of the cultural connotations of the story under the guidance of the class instructor. In addition to improving their linguistic proficiency in the target language, students can also develop their communication skills and cross-cultural awareness through reading and discussing a series of bilingual texts centered on various cultural values and sensibilities, institutional structures, practices of governance, and ways of life. If needed, these discussion questions can be easily converted into topics for writing assignments that extend students’ critical engagement with a different language and culture, and encourage them to make thoughtful reflections on their own cultural assumptions and stereotypes in the written form. Informed by Mu’s longtime rich experience in teaching advanced Chinese-language and translation classes, this volume showcases an innovative effort in developing “a curricular structure that integrates language and culture learning” (ix).

Another particularly well-designed feature in the layout of the anthology is its side-by-side parallel text format, i.e., on the left page, the Chinese text is printed, and on the right page, its English translation is juxtaposed. Such a layout allows students to refer to the English text easily when they encounter language barriers in the original Chinese text. This format renders a smoother and more enjoyable reading experience. It also creates a great opportunity for teachers to use this book in a translation class. Chinese University Press of Hong Kong and Penguin have published their own series of bilingual Chinese literary works, but they tend to focus on longer pieces. With a more concise form of short-short stories, students in a Chinese–English translation class will find it much easier to concentrate on a close reading, or what Mu calls an “analytical scrutiny” (xix) of a manageable size of the text, comparing its original Chinese version with its English translation. Following such a careful line-by-line examination and analysis, students, under the teacher’s guidance, can continue discussing a series of linguistic and cultural differences, and what possible translational strategies can be adopted to deal with the challenges caused by such differences. The inclusion of several excellent translational works of Mu’s students would encourage more students to follow their exemplary models and take up the daunting but rewarding task of literary translation.

Indeed, the parallel bilingual format of this volume makes it a truly versatile tool of education for different types of classes. In addition to Chinese- language and translation classes, this book can also be used in an introductory course on Chinese literature and culture for students with little or no knowledge of the Chinese language. In my contemporary Chinese literature class, I have used several short-short stories from this volume and other anthologies. Stories like “Catharsis” and “Fake Love Letter” help students gain a better understanding of common people’s lives during the Cultural Revolution (1966–1976), as well as the resilience of love, courage, and humanity even at the most turbulent and traumatizing historic moments. Short-shorts are often my students’ favorite works, thanks to their engaging plots, unique storytelling skills, stylistic innovation, nuanced interpretation of cultural values, and ingenious capacity of dealing with a variety of issues and themes within a shorter span of reading time and textual length.

In addition to literature classes, a wide array of survey courses, ranging from contemporary China to Chinese cultural legacies or East Asian civilizations, might find this volume a precious asset. For instance, when I deliver a lecture about changing family structure and ethics in contemporary Chinese society, the altering practices of filial piety often stir students’ interests and ignite a cross-cultural discussion in which students compare the Confucian idea of filial piety with the American pattern of old-age support and draw on their own personal observations. The section on xiao in Mu’s volume will serve as wonderful reading material for a teaching session like this. These short-shorts provide concrete case studies of the multiple meanings and forms of filial piety in a fast-changing Chinese society. The vivid depiction of the affectionate intergenerational bonding in Chi Zijian’s “Father Makes the Lantern” challenges a common assumption shared by many American students that xiao is forced on the younger generations by their elderly family members and thus carries the negative connotations of dominance and subjugation in an individualistic society. Through such a cross-cultural learning process, students become more aware of their own experiences and biases, and learn to make critical reflections on their own value assumptions and the American way of life lived and taken for granted on a daily basis.

To prepare the next generation for an increasingly globalizing and interconnected world, cultivating students’ critical thinking ability and openness to pluralistic voices and a global vision have become core constituents in American college curricula. In this light, this volume serves as a great educational tool that encourages students to nurture a more nuanced understanding of alternative value systems and ways of thinking, behaving, and living, which often challenges their possibly ethnocentric views of a different language, culture, people, and society on the other side of the globe. ■

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StoryLearning

Learn A Language Through Stories

How to Write in Chinese – A Beginner’s Guide

You probably think learning how to write in Chinese is impossible.

And I get it.

I’m a native English speaker, and I know how complex Chinese characters seem.

But you’re about to learn that it's not impossible .

I’ve teamed up with Kyle Balmer from Sensible Chinese to show you how you can learn the basic building blocks of the Chinese written language, and build your Chinese vocabulary quickly.

First, you’ll learn the basics of how the Chinese written language is constructed. Then, you’ll get a step-by-step guide for how to write Chinese characters sensibly and systematically .

Wondering how it can be so easy?

Then let’s get into it.

Don't have time to read this now?  Click here to download a free PDF of the article

By the way, if you want to learn Chinese fast and have fun, my top recommendation is  Chinese Uncovered  which teaches you through StoryLearning®. 

With  Chinese Uncovered  you’ll use my unique StoryLearning® method to learn Chinese through story… not rules.

It’s as fun as it is effective.

If you’re ready to get started,  click here for a 7-day FREE trial.

How To Write In Chinese

Chinese is a complex language with many dialects and varieties.

Before we dive into learning to write Chinese characters, let’s just take a second to be clear exactly what we’ll be talking about.

First, you’ll be learning about Mandarin Chinese , the “standard” dialect. There are 5 main groups of dialects and perhaps 200 individual dialects in China & Taiwan. Mandarin Chinese is the “standard” used in Beijing and spoken or understood, by 2/3 of the population.

Second, there are two types of Chinese characters: Traditional and Simplified . In this article, we’ll be talking about Simplified Chinese characters, which are used in the majority of Mainland China.

There is an ongoing politicised debate about the two kinds of characters, and those asking themselves: “Should I learn traditional or simplified Chinese characters?” can face a difficult choice.

• For more on difference between Simplified and Traditional characters read this article
• To learn more about “the debate” read this excellent Wikipedia article
• If you want to switch Simplified characters into Traditional, you might like the fantastic New Tong Wen Tang browser plugin

First Steps in Learning Chinese Characters

When learning a European language, you have certain reference points that give you a head start.

If you're learning French and see the word l'hotel , for example, you can take a pretty good guess what it means! You have a shared alphabet and shared word roots to fall back on.

In Chinese this is not the case.

When you're just starting out, every sound, character, and word seems new and unique. Learning to read Chinese characters can feel like learning a whole set of completely illogical, unconnected “squiggles”!

The most commonly-taught method for learning to read and write these “squiggles” is rote learning .

Just write them again and again and practise until they stick in your brain and your hand remembers how to write them! This is an outdated approach, much like reciting multiplication tables until they “stick”.

I learnt this way.

Most Chinese learners learnt this way.

It's painful…and sadly discourages a lot of learners.

However, there is a better way.

Even without any common reference points between Chinese and English, the secret is to use the basic building blocks of Chinese, and use those building blocks as reference points from which to grow your knowledge of written Chinese.

This article will:

• Outline the different levels of structure inherent in Chinese characters
• Show you how to build your own reference points from scratch
• Demonstrate how to build up gradually without feeling overwhelmed

The Structure Of Written Chinese

The basic structure of written Chinese is as follows:

I like to think of Chinese like Lego . .. it's very “square”!

The individual bricks are the components (a.k.a  radicals ).

We start to snap these components together to get something larger – the characters.

We can then snap characters together in order to make Chinese words.

Here's the really cool part about Chinese: Each of these pieces, at every level, has meaning.

The component, the character, the word… they all have meaning.

This is different to a European language, where the “pieces” used to make up words are letters.

Letters by themselves don't normally have meaning and when we start to clip letters together we are shaping a sound rather than connecting little pieces of meaning. This is a powerful difference that comes into play later when we are learning vocabulary.

Let's look at the diagram again.

Here we start with the component 子. This has the meaning of “child/infant”.

The character 好 (“good”) is the next level. Look on the right of the character and you'll see 子. We would say that 子 is a component of 好.

Now look at the full word 你好 (“Hello”). Notice that the 子 is still there.

• The character 好 is built of the components 女 and 子.
• The character 你 is built from 人 + 尔.
• The word 你好 in turn is constructed out of 你 + 好.

Here's the complete breakdown of that word in an easy-to-read diagram:

Now look at this photo of this in real life !

Don't worry if you can't understand it. Just look for some shapes that you have seen before.

The font is a little funky, so here are the typed characters: 好孩子

What components have you seen before?

Did you spot them?

This is a big deal.

Here's why…

Why Character Components Are So Important

One of the big “scare stories” around Chinese is that there are 50,000 characters to learn.

Now, this is true. But learning them isn't half as bad as you think.

Firstly, only a few thousand characters are in general everyday use so that number is a lot more manageable.

Second, and more importantly, those 50,000 characters are all made up of the same 214 components .

And you already know one of them: 子 (it's one of those 214 components).

The fact that you can now recognise the 子 in the image above is a huge step forward.

You can already recognise one of the 214 pieces all characters are made up of.

Even better is the fact that of these 214 components it's only the 50-100 most common you'll be running into again and again.

This makes Chinese characters a lot less scary.

Once you get a handle on these basic components, you'll quickly recognise all the smaller pieces and your eyes will stop glazing over!  

This doesn't mean you'll necessarily know the meaning or how to pronounce the words yet (we'll get onto this shortly) but suddenly Chinese doesn't seem quite so alien any more.

Memorising The Components Of Chinese Characters

Memorising the pieces is not as important as simply realising that ALL of Chinese is constructed from these 214 pieces.

When I realised this, Chinese became a lot more manageable and I hope I've saved you some heartache by revealing this early in your learning process!

Here are some useful online resources for learning the components of Chinese characters:

• An extensive article about the   214 components of Chinese characters  with a free printable PDF poster.
• Downloadable posters of all the components, characters and words.
• If you like flashcards, there's a great Anki deck here and a Memrise course here .
• Wikipedia also has a sweet sortable list here .

TAKEAWAY : Every single Chinese character is composed of just 214 “pieces”. Only 50-100 of these are commonly used. Learn these pieces first to learn how to write in Chinese quickly.

Moving From Components To Chinese Characters

Once you've got a grasp of the basic building blocks of Chinese it's time to start building some characters!

We used the character 好 (“good”) in the above example. 好 is a character composed of the components 女 (“woman”) and 子 (“child”).

Unlike the letters of the alphabet in English, these components have meaning .

(They also have pronunciation, but for the sake of simplicity we'll leave that aside for now!)

• 女 means “woman” and 子 means “child”.
• When they are put together, 女 and 子 become 好 …and the meaning is “good”.
• Therefore “woman” + “child” = “good” in Chinese 🙂

When learning how to write in Chinese characters you can take advantage of the fact that components have their own meanings.

In this case, it is relatively easy to make a mnemonic (memory aid) that links the idea of a woman with her baby as “good”.

Because Chinese is so structured, these kind of mnemonics are an incredibly powerful tool for memorisation.

Some characters, including 好, can also be easily represented graphically. ShaoLan's book Chineasy does a fantastic job of this.

Here's the image of 好 for instance – you can see the mother and child.

Visual graphics like these can really help in learning Chinese characters.

Unfortunately, only around 5% of the characters in Chinese are directly “visual” in this way. These characters tend to get the most attention because they look great when illustrated.

However, as you move beyond the concrete in the more abstract it becomes harder and harder to visually represent ideas.

Thankfully, the ancient Chinese had an ingenious solution, a solution that actually makes the language a lot more logical and simple than merely adding endless visual pictures.

Watch Me Write Chinese Characters

In the video below, which is part of a series on learning to write in Chinese , I talk about the process of actually writing out the characters. Not thousands of times like Chinese schoolchildren. But just as a way to reinforce my learning and attack learning Chinese characters from different angles.

My Chinese handwriting leaves a lot to be desired. But it's more about a process of reinforcing my language learning via muscle memory than perfecting my handwriting.

You'll also hear me discuss some related issues such as stroke order and typing in Chinese.

The Pronunciation Of Chinese Characters

The solution was the incredibly unsexy sounding… (wait for it…) “phono-semantic compound character”.

It's an awful name, so I'm going to call them “sound-meaning characters” for now!

This concept is the key to unlocking 95% of the Chinese characters.

A sound-meaning character has a component that tells us two things:

• the meaning
• a clue to how the character is pronounced

So, in simple terms:

95% of Chinese characters have a clue to the meaning of the character AND its pronunciation. 

到 means “to arrive”.

This character is made of two components. On the left is 至 and on the right is 刀.

These are two of the 214 components that make up all characters. 至 means “to arrive” and 刀 means “knife”.

Any idea which one gives us the meaning? Yup – it's 至, “to arrive”! (That was an easy one 🙂 )

But how about the 刀? This is where it gets interesting.

到 is pronounced dào.

刀, “knife” is pronounced dāo.

The reason the 刀 is placed next to 至 in the character 到 is just to tell us how to pronounce the character! How cool is that?

Now, did you notice the little lines above the words: dào and dāo?

Those are the tone markers, and in this case they are both slightly different. These two characters have different tones so they are not exactly the same pronunciation.

However, the sound-meaning compound has got us 90% of the way to being able to pronounce the character, all because some awesome ancient Chinese scribe thought there should be a shortcut to help us remember the pronunciation!

Let's look at a few more examples of how 刀 is used in different words to give you an idea of the pronunciation.

Even if sometimes:

• the sound-meaning character gives us the exact sound and meaning
• or it gets us in the ballpark
• or worse it is way off because the character has changed over the last 5,000 years!

Nevertheless, there's a clue about the pronunciation in 95% of all Chinese characters, which is a huge help for learning how to speak Chinese.

TAKEAWAY : Look at the component parts as  a way to unlock the meaning and pronunciations of 95% of Chinese characters. In terms of “hacking” the language, this is the key to learning how to write in Chinese quickly.

From Chinese Characters To Chinese Words

First we went from components to characters.

Next, we are going from characters to words.

Although there are a lot of one-character words in Chinese, they tend to either be classically-rooted words like “king” and “horse” or grammatical particles and pronouns.

The vast majority of Chinese words contain two characters.

The step from characters to words is where, dare I say it, Chinese script gets easy!

Come on, you didn't think it would always be hard did you? 🙂

Unlike European languages Chinese's difficulty is very front-loaded.

When you first learn to write Chinese, you'll discover a foreign pronunciation system, a foreign tonal system and a very  foreign writing system.

As an English speaker, you can normally have a good shot at pronouncing and reading words in other European languages, thanks to the shared alphabet.

Chinese, on the other hand, sucker-punches you on day one… but gets a little more gentle as you go along.

One you've realised these things:

• there aren't that many components to deal with
• all characters are made up of these basic components
• words are actually characters bolted together

…then it's a matter of just memorising a whole bunch of stuff!

That's not to say there isn't a lot of work involved, only to say that it's not particularly difficult. Time-consuming, yes. Difficult, no.

This is quite different from European languages, which start off easy, but quickly escalate in difficulty as you encounter complicated grammar, tenses, case endings, technical vocabulary and so on.

Making words from Chinese characters you already know is easy and really fun . This is where you get to start snapping the lego blocks together and build that Pirate Island!

The Logic Of Chinese Writing

Here are some wonderful examples of the simplicity and logic of Chinese using the character 车 which roughly translates as “vehicle”.

• Water + Vehicle = Waterwheel = 水 +车
• Wind + Vehicle = Windmill = 风＋车
• Electric + Vehicle = Tram/Trolley = 电＋车
• Fire + Vehicle = Train = 火＋车
• Gas + Vehicle = Car = 汽＋车
• Horse + Vehicle = Horse and cart/Trap and Pony = 马＋车
• Up + Vehicle = Get into/onto a vehicle =上＋车
• Down + Vehicle = Get out/off a vehicle =下＋车
• Vehicle + Warehouse = Garage = 车＋库
• To Stop + Vehicle = to park = 停＋车

Chinese is extremely logical and consistent.

This is a set of building blocks that has evolved over 5,000 years in a relatively linear progression. And you can't exactly say the same about the English language!

Just think of the English words for the Chinese equivalences above:

Train, windmill, millwheel/waterwheel, tram/trolley, car/automobile, horse and cart/trap and pony.

Unlike Chinese where these concepts are all linked by 车 there's very little consistency in our vehicle/wheel related vocabulary, and no way to link these sets of related concepts via the word itself.

English is a diverse and rich language, but that comes with its drawbacks – a case-by-case spelling system that drives learners mad.

Chinese, on the other hand, is precise and logical, once you get over the initial “alienness”.

Making The Complex Simple

This logical way of constructing vocabulary is not limited to everyday words like “car” and “train”. It extends throughout the language.

To take an extreme example let's look at Jurassic Park .

The other day I watched Jurassic Park with my Chinese girlfriend. (OK, re -watched. It's a classic!)

Part of the fun for me (annoyance for her) was asking her the Chinese for various dinosaur species.

Take a second to look through these examples. You'll love the simplicity!

• T Rex 暴龙 = tyrant + dragon
• Tricerotops 三角恐龙 three + horn + dinosaur
• Diplodocus 梁龙 roof-beam + dragon
• Velociraptor 伶盗龙 clever + thief + dragon (or swift stealer dragon)
• Stegosaurus 剑龙 (double-edged) sword + dragon
• Dilophosaurus 双脊龙 double+spined+dragon

Don't try to memorise these characters, just appreciate the underlying logic of how the complex concepts are constructed .

(Unless, of course, you are a palaeontologist…or as the Chinese would say a Ancient + Life + Animal + Scientist!).

I couldn't spell half of these dinosaur names in English for this article. But once I knew how the construction of the Chinese word, typing in the right characters was simple.

Once you know a handful of characters, you can start to put together complete words, and knowing how to write in Chinese suddenly becomes a lot easier.

In a lot of cases you can take educated guesses at concepts and get them right by combining known characters into unknown words.

For more on this, check my series of Chinese character images that I publish on this page . They focus on Chinese words constructed from common characters, and help you understand more of the “building block” logic of Chinese.

TAKEAWAY : Chinese words are constructed extremely logically from the underlying characters. This means that once you've learned a handful of characters vocabulary acquisition speeds up exponentially.

How To Learn Written Chinese Fast

Before diving into learning characters, make sure you have a decent grounding in Chinese pronunciation via the pinyin system. 

The reason for this is that taking on pronunciation, tones and characters from day one is really tough.

Don't get me wrong, you can do it. Especially if you're highly motivated. But for most people there's a better way.

Learn a bit of spoken Chinese first. 

With some spoken language under your belt, and an understanding of pronunciation and tones, starting to learn how to write in Chinese will seem a whole lot easier.

When you're ready, here's how to use all the information from this article and deal with written Chinese in a sensible way.

I've got a systematic approach to written Chinese which you can find in detail on Sensible Chinese .

Right now, I'm going to get you started with the basics.

The Sensible Character System

The four stages for learning Chinese characters are:

Sounds technical huh? Don't worry, it's not really.

This part of the process is about choosing what you put into your character learning system.

If you're working on the wrong material then you're wasting your efforts. Instead choose to learn Chinese characters that you are like to want to use in the future.

My list in order of priority contains:

• daily life: characters/words I've encountered through daily life
• textbooks: characters/words I've learnt from textbooks
• frequency lists: characters/words I've found in frequency lists of the most common characters and words

2. Processing

This is the “learning” part of the system.

You take a new word or character and break it down into its component parts. You can then use these components to create memory aids.

Hanzicraft.com or Pleco's built-in character decomposition tool are fantastic for breaking down new characters. These will be helpful until you learn to recognise the character components by sight. These tools will also show you if there are sound-meaning component clues in the character.

Use the individual components of a character to build a “story” around the character. Personal, sexy and violent stories tend to stick in the mind best! 🙂 I also like to add colours into my stories to represent the tones (1st tone Green, 2nd tone Blue etc.)

After the “input” and the “process”… it's time to review it all!

The simplest review system is paper flashcards which you periodically use to refresh your memory.

A more efficient method can be found in software or apps that use a Spaced Repetition System, like Anki or   Pleco .

An important point: Review is not learning .

It's tempting to rely on software like Anki to drill in the vocabulary through brute-force repetition. But don't skip the first two parts – processing the character and creating a mnemonic are key parts of the process.

It isn't enough to just learn and review your words… you also need to put them into use !

Thankfully, technology has made this easier than ever. Finding a language exchange partner or a lesson with a cost-effective teacher is super simple nowadays, so there's no excuse for not putting your new vocabulary into action!

The resources I personally use are:

• Spoken – iTalki
• Written – Lang-8
• Short form written – WeChat / HelloTalk

Importantly, whilst you are using your current vocabulary in these forms of communication, you'll be picking up new content all the time, which you can add back into your system.

The four steps above are a cycle that you will continue to rotate through – all the corrections and new words you receive during usage should become material to add to the system.

To recap, the four steps of systematically learning Chinese characters are:

By building these steps into your regular study schedule you can steadily work through the thousands of Chinese characters and words you'll need to achieve literacy.

This is a long-haul process! So having a basic system in place is very important for consistency.

You can find out a lot more about The Sensible Chinese Character Learning System and how to write in Chinese here .

Top Chinese Learning Links And Resources

• Chinese Language Learning Resource List – a curated list of tools and content available online and in print to help your Chinese learning, all categorised by usage type.
• Sensible Character Learning System – the full system outlined in a series of blog articles for those who want more detail and tips on how to refine their character learning.
• 111 Mandarin Chinese resources you wish you knew – Olly’s huge list of the best resources on the web for learning Chinese

I hope you enjoyed this epic guide to learning how to write in Chinese!

Please share this post with any friends who are learning Chinese, then leave us a comment below!

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The Structure and Influence of Han Dynasty Government

This essay is about the government structure of the Han Dynasty and its impact on Chinese civilization. It explains how the Han Dynasty maintained stability and promoted growth through a centralized bureaucracy, a merit-based civil service system, and the integration of Confucian and legalist principles. The essay highlights the roles of local administration, economic policies aimed at supporting agriculture and trade, and military strategies for defense and expansion. It also discusses the lasting legacy of the Han government on future Chinese dynasties and administrative practices. Overall, the essay underscores the sophistication and effectiveness of Han Dynasty governance.

How it works

The Han Epoch, spanning from 206 BCE to 220 CE, is often hailed as a zenith of Chinese civilization. Its governance exerted a pivotal influence on the cultural, societal, and political fabric of China. Grasping the configuration and operation of the Han Dynasty’s governance yields profound insights into its capacity to sustain stability, foster economic advancement, and nurture cultural flourishing across four centuries.

The Han Dynasty’s governance was typified by a highly centralized bureaucracy, marking a significant departure from the feudal structure of its antecedent, the Qin Dynasty.

Occupying the apex of this administrative hierarchy was the emperor, revered as the Son of Heaven and vested with supreme authority. However, effective administration necessitated a meticulously organized and efficient bureaucracy, an area where the Han government excelled.

A pivotal aspect of the Han administration was its civil service apparatus. Initially rooted in recommendations by local dignitaries, this system evolved into a structured examination regimen. Recognizing the imperative of appointing capable and loyal functionaries to administer the vast empire, Han rulers instituted civil service examinations assessing candidates’ familiarity with Confucian tenets. This emphasis on Confucianism as the state doctrine underscored the dynasty’s commitment to meritocracy, moral rectitude, and educational attainment, thus fostering the cultivation of a competent and principled administrative cadre.

The central authority was compartmentalized into various ministries, each tasked with distinct facets of governance, encompassing fiscal matters, military affairs, and judicial administration. These ministries were overseen by high-ranking officials directly accountable to the emperor. Foremost among them were the Chancellor (or Prime Minister), responsible for overarching administration, and the Imperial Secretary, tasked with managing imperial proclamations and communications. This division of labor streamlined governance, ensuring the efficient management of disparate state functions.

Local governance constituted another pivotal facet of the Han administration. The empire was demarcated into commanderies and counties, each under the stewardship of appointed officials. Charged with implementing central policies, levying taxes, upholding law and order, and supervising public infrastructure, these local administrators facilitated the extension of central authority to distant realms, fostering uniformity and cohesion across the empire.

The Han Dynasty accorded significant primacy to legalist precepts, particularly during its nascent phase. Legalism advocated for stringent legal codes and draconian penalties to enforce order and discipline. While Confucianism furnished the ethical bedrock of governance, legalist doctrines ensured uniform enforcement of laws and adherence to state decrees. Over time, the Han government synthesized these philosophical strands, fashioning a balanced paradigm that prized both ethical governance and legal exactitude.

Economic policy under the Han regime was oriented toward bolstering agricultural productivity and stabilizing the economy. Measures such as tax abatements, land redistribution, and state-run granaries were instituted to buttress agrarian interests and mitigate famine risks. These initiatives engendered an upsurge in agricultural yields, guaranteeing sustenance security for the populace. Furthermore, the Han Dynasty’s initiatives fostered extensive trade networks, both domestic and transnational, fostering economic expansion and cultural interchange.

Military organization and defense constituted paramount concerns for the Han government. Confronted with threats from nomadic confederations, notably the Xiongnu, the dynasty maintained a disciplined and well-organized military force. Investments were made in fortification construction, including the iconic Great Wall, to deter incursions and safeguard frontiers. Victorious military campaigns expanded the empire’s territorial dominion, augmenting its sway and influence.

The Han Dynasty’s governance ethos bequeathed an enduring legacy on Chinese political ruminations and administrative methodologies. The emphasis on meritocratic selection, centralized administration, and the fusion of Confucian and legalist ideals set a benchmark for subsequent Chinese dynasties. Particularly, the civil service mechanism emerged as a template for future epochs, influencing administrative paradigms in disparate cultural contexts.

To conclude, the governance of the Han Dynasty constituted a nuanced and sophisticated framework that harmonized central authority with local stewardship, ethical governance with legal rigor, and economic stewardship with military prudence. This efficacious governance paradigm empowered the Han Dynasty to uphold stability, foster economic prosperity, and nurture cultural efflorescence, imprinting an indelible mark on Chinese civilization. Delving into the intricacies of Han governance furnishes invaluable insights into the imperative of adept administration, ethical governance, and the amalgamation of divergent philosophical perspectives in statecraft.

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Chinese Translation of Selected Essays of Haun Saussy

The Center for East Asian Studies congratulates  Professor Haun Saussy  (University Professor, East Asian Languages and Civilizations and the Committee on Social Thought) on the recent publication of the Chinese translation of  Ru zhi he: Su Yuanxi zixuanji  如之何：蘇源熙自選集  ( Comparatively Speaking: Selected Essays of Haun Saussy ), ed. Ji Lingjuan 吉靈娟, Nanjing: Nanjing University Press, 2023.  The book contains 16 articles since 1993 in various fields of research on Chinese literature and culture, highlighting the significance of studying Chinese culture and the discovery and understanding of its differences and similarities with other cultures.  Through comparative research and rich textual analysis, Haussy discusses Chinese ritual culture and East Asian literary history and translation.

All renumeration from the publication has been donated to establish the “Qian Nanxiu Scholarship” to award outstanding graduate students majoring in ancient and classical Chinese literature at Nanjing University. Professor Qian Nanxiu (1947-2022) was an outstanding alumnus of Nanjing University, Professor of Chinese Literature at Rice University, and a former Yale classmate and dear friend of Professor Haun Saussy.  Qian specialized in the study of classical Chinese literature, Chinese intellectual history, comparative literature, and studies on the Sinosphere.

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Home > Academic departments > Comparative Literature > Comparative Literature M.A. Essays > 28

Comparative Literature M.A. Essays

Transcreation in world of warcraft’s china localization: echoes of poetry across two worlds.

Yilu Ren Follow

Date of Award

Spring 6-2024

Document Type

First advisor.

James Dorsey

Second Advisor

Roopika Risam

The official trailer for the globally popular MMORPG (massively multiplayer online role-playing game) World of Warcraft Patch 5.2: The Thunder King featured an original English poem, subsequently translated into 10 other languages. All versions retained a poetic form, with the one release in mainland China creatively borrowing the tetrasyllabic verse style akin to that used in Shijing , the first anthology of Chinese poetry. This unprecedented adaptation of a literary genre in the localization of a non-literary video game product blurred the conceptual boundary between Lawrence Venuti's binary notions of foreignization and domestication in translation theory.

Viewed in light of Eugene Nida's three-stage translation framework (analysis, transfer, restructuring) and Stuart Hall's four-stage model of communication (production, circulation, consumption, reproduction), this case study demonstrates how the classical Chinese poetic form, mediated through the interactive video game platform, breaks free from its purely literary origins to become itself the "medium" in the sense of Marshall McLuhan’s seminal claim that “the medium is the message.”

That is, the poetic style itself, to a large extent, dictates how the content is conveyed and presented, embodying rich cultural connotations beyond the literal meaning of its content. This seamless integration of an ancient literary heritage into a modern multimedia environment represents a pioneering act of transcreation, artfully reinventing the source material while preserving its affective resonance for a new audience. As such, this perspective provides an innovative approach that contributes to the theorization of localization practice within Translation Studies.

Recommended Citation

Ren, Yilu, "Transcreation in World of Warcraft’s China Localization: Echoes of Poetry across Two Worlds" (2024). Comparative Literature M.A. Essays . 28. https://digitalcommons.dartmouth.edu/complit_essays/28

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Why the Pandemic Probably Started in a Lab, in 5 Key Points

By Alina Chan

Dr. Chan is a molecular biologist at the Broad Institute of M.I.T. and Harvard, and a co-author of “Viral: The Search for the Origin of Covid-19.”

This article has been updated to reflect news developments.

On Monday, Dr. Anthony Fauci returned to the halls of Congress and testified before the House subcommittee investigating the Covid-19 pandemic. He was questioned about several topics related to the government’s handling of Covid-19, including how the National Institute of Allergy and Infectious Diseases, which he directed until retiring in 2022, supported risky virus work at a Chinese institute whose research may have caused the pandemic.

For more than four years, reflexive partisan politics have derailed the search for the truth about a catastrophe that has touched us all. It has been estimated that at least 25 million people around the world have died because of Covid-19, with over a million of those deaths in the United States.

Although how the pandemic started has been hotly debated, a growing volume of evidence — gleaned from public records released under the Freedom of Information Act, digital sleuthing through online databases, scientific papers analyzing the virus and its spread, and leaks from within the U.S. government — suggests that the pandemic most likely occurred because a virus escaped from a research lab in Wuhan, China. If so, it would be the most costly accident in the history of science.

Here’s what we now know:

1 The SARS-like virus that caused the pandemic emerged in Wuhan, the city where the world’s foremost research lab for SARS-like viruses is located.

• At the Wuhan Institute of Virology, a team of scientists had been hunting for SARS-like viruses for over a decade, led by Shi Zhengli.
• Their research showed that the viruses most similar to SARS‑CoV‑2, the virus that caused the pandemic, circulate in bats that live r oughly 1,000 miles away from Wuhan. Scientists from Dr. Shi’s team traveled repeatedly to Yunnan province to collect these viruses and had expanded their search to Southeast Asia. Bats in other parts of China have not been found to carry viruses that are as closely related to SARS-CoV-2.

The closest known relatives to SARS-CoV-2 were found in southwestern China and in Laos.

Large cities

Mine in Yunnan province

Cave in Laos

South China Sea

The closest known relatives to SARS-CoV-2

were found in southwestern China and in Laos.

philippines

The closest known relatives to SARS-CoV-2 were found

in southwestern China and Laos.

Sources: Sarah Temmam et al., Nature; SimpleMaps

Note: Cities shown have a population of at least 200,000.

There are hundreds of large cities in China and Southeast Asia.

There are hundreds of large cities in China

and Southeast Asia.

The pandemic started roughly 1,000 miles away, in Wuhan, home to the world’s foremost SARS-like virus research lab.

The pandemic started roughly 1,000 miles away,

in Wuhan, home to the world’s foremost SARS-like virus research lab.

The pandemic started roughly 1,000 miles away, in Wuhan,

home to the world’s foremost SARS-like virus research lab.

• Even at hot spots where these viruses exist naturally near the cave bats of southwestern China and Southeast Asia, the scientists argued, as recently as 2019 , that bat coronavirus spillover into humans is rare .
• When the Covid-19 outbreak was detected, Dr. Shi initially wondered if the novel coronavirus had come from her laboratory , saying she had never expected such an outbreak to occur in Wuhan.
• The SARS‑CoV‑2 virus is exceptionally contagious and can jump from species to species like wildfire . Yet it left no known trace of infection at its source or anywhere along what would have been a thousand-mile journey before emerging in Wuhan.

2 The year before the outbreak, the Wuhan institute, working with U.S. partners, had proposed creating viruses with SARS‑CoV‑2’s defining feature.

• Dr. Shi’s group was fascinated by how coronaviruses jump from species to species. To find viruses, they took samples from bats and other animals , as well as from sick people living near animals carrying these viruses or associated with the wildlife trade. Much of this work was conducted in partnership with the EcoHealth Alliance, a U.S.-based scientific organization that, since 2002, has been awarded over $80 million in federal funding to research the risks of emerging infectious diseases.
• The laboratory pursued risky research that resulted in viruses becoming more infectious : Coronaviruses were grown from samples from infected animals and genetically reconstructed and recombined to create new viruses unknown in nature. These new viruses were passed through cells from bats, pigs, primates and humans and were used to infect civets and humanized mice (mice modified with human genes). In essence, this process forced these viruses to adapt to new host species, and the viruses with mutations that allowed them to thrive emerged as victors.
• By 2019, Dr. Shi’s group had published a database describing more than 22,000 collected wildlife samples. But external access was shut off in the fall of 2019, and the database was not shared with American collaborators even after the pandemic started , when such a rich virus collection would have been most useful in tracking the origin of SARS‑CoV‑2. It remains unclear whether the Wuhan institute possessed a precursor of the pandemic virus.
• In 2021, The Intercept published a leaked 2018 grant proposal for a research project named Defuse , which had been written as a collaboration between EcoHealth, the Wuhan institute and Ralph Baric at the University of North Carolina, who had been on the cutting edge of coronavirus research for years. The proposal described plans to create viruses strikingly similar to SARS‑CoV‑2.
• Coronaviruses bear their name because their surface is studded with protein spikes, like a spiky crown, which they use to enter animal cells. T he Defuse project proposed to search for and create SARS-like viruses carrying spikes with a unique feature: a furin cleavage site — the same feature that enhances SARS‑CoV‑2’s infectiousness in humans, making it capable of causing a pandemic. Defuse was never funded by the United States . However, in his testimony on Monday, Dr. Fauci explained that the Wuhan institute would not need to rely on U.S. funding to pursue research independently.

The Wuhan lab ran risky experiments to learn about how SARS-like viruses might infect humans.

1. Collect SARS-like viruses from bats and other wild animals, as well as from people exposed to them.

2. Identify high-risk viruses by screening for spike proteins that facilitate infection of human cells.

2. Identify high-risk viruses by screening for spike proteins that facilitate infection of

human cells.

In Defuse, the scientists proposed to add a furin cleavage site to the spike protein.

3. Create new coronaviruses by inserting spike proteins or other features that could make the viruses more infectious in humans.

4. Infect human cells, civets and humanized mice with the new coronaviruses, to determine how dangerous they might be.

• While it’s possible that the furin cleavage site could have evolved naturally (as seen in some distantly related coronaviruses), out of the hundreds of SARS-like viruses cataloged by scientists, SARS‑CoV‑2 is the only one known to possess a furin cleavage site in its spike. And the genetic data suggest that the virus had only recently gained the furin cleavage site before it started the pandemic.
• Ultimately, a never-before-seen SARS-like virus with a newly introduced furin cleavage site, matching the description in the Wuhan institute’s Defuse proposal, caused an outbreak in Wuhan less than two years after the proposal was drafted.
• When the Wuhan scientists published their seminal paper about Covid-19 as the pandemic roared to life in 2020, they did not mention the virus’s furin cleavage site — a feature they should have been on the lookout for, according to their own grant proposal, and a feature quickly recognized by other scientists.
• Worse still, as the pandemic raged, their American collaborators failed to publicly reveal the existence of the Defuse proposal. The president of EcoHealth, Peter Daszak, recently admitted to Congress that he doesn’t know about virus samples collected by the Wuhan institute after 2015 and never asked the lab’s scientists if they had started the work described in Defuse. In May, citing failures in EcoHealth’s monitoring of risky experiments conducted at the Wuhan lab, the Biden administration suspended all federal funding for the organization and Dr. Daszak, and initiated proceedings to bar them from receiving future grants. In his testimony on Monday, Dr. Fauci said that he supported the decision to suspend and bar EcoHealth.
• Separately, Dr. Baric described the competitive dynamic between his research group and the institute when he told Congress that the Wuhan scientists would probably not have shared their most interesting newly discovered viruses with him . Documents and email correspondence between the institute and Dr. Baric are still being withheld from the public while their release is fiercely contested in litigation.
• In the end, American partners very likely knew of only a fraction of the research done in Wuhan. According to U.S. intelligence sources, some of the institute’s virus research was classified or conducted with or on behalf of the Chinese military . In the congressional hearing on Monday, Dr. Fauci repeatedly acknowledged the lack of visibility into experiments conducted at the Wuhan institute, saying, “None of us can know everything that’s going on in China, or in Wuhan, or what have you. And that’s the reason why — I say today, and I’ve said at the T.I.,” referring to his transcribed interview with the subcommittee, “I keep an open mind as to what the origin is.”

3 The Wuhan lab pursued this type of work under low biosafety conditions that could not have contained an airborne virus as infectious as SARS‑CoV‑2.

• Labs working with live viruses generally operate at one of four biosafety levels (known in ascending order of stringency as BSL-1, 2, 3 and 4) that describe the work practices that are considered sufficiently safe depending on the characteristics of each pathogen. The Wuhan institute’s scientists worked with SARS-like viruses under inappropriately low biosafety conditions .

In the United States, virologists generally use stricter Biosafety Level 3 protocols when working with SARS-like viruses.

Biosafety cabinets prevent

viral particles from escaping.

Viral particles

Personal respirators provide

a second layer of defense against breathing in the virus.

DIRECT CONTACT

Gloves prevent skin contact.

Disposable wraparound

gowns cover much of the rest of the body.

Personal respirators provide a second layer of defense against breathing in the virus.

Disposable wraparound gowns

cover much of the rest of the body.

Note: ​​Biosafety levels are not internationally standardized, and some countries use more permissive protocols than others.

The Wuhan lab had been regularly working with SARS-like viruses under Biosafety Level 2 conditions, which could not prevent a highly infectious virus like SARS-CoV-2 from escaping.

Some work is done in the open air, and masks are not required.

Less protective equipment provides more opportunities

for contamination.

Some work is done in the open air,

and masks are not required.

Less protective equipment provides more opportunities for contamination.

• In one experiment, Dr. Shi’s group genetically engineered an unexpectedly deadly SARS-like virus (not closely related to SARS‑CoV‑2) that exhibited a 10,000-fold increase in the quantity of virus in the lungs and brains of humanized mice . Wuhan institute scientists handled these live viruses at low biosafet y levels , including BSL-2.
• Even the much more stringent containment at BSL-3 cannot fully prevent SARS‑CoV‑2 from escaping . Two years into the pandemic, the virus infected a scientist in a BSL-3 laboratory in Taiwan, which was, at the time, a zero-Covid country. The scientist had been vaccinated and was tested only after losing the sense of smell. By then, more than 100 close contacts had been exposed. Human error is a source of exposure even at the highest biosafety levels , and the risks are much greater for scientists working with infectious pathogens at low biosafety.
• An early draft of the Defuse proposal stated that the Wuhan lab would do their virus work at BSL-2 to make it “highly cost-effective.” Dr. Baric added a note to the draft highlighting the importance of using BSL-3 to contain SARS-like viruses that could infect human cells, writing that “U.S. researchers will likely freak out.” Years later, after SARS‑CoV‑2 had killed millions, Dr. Baric wrote to Dr. Daszak : “I have no doubt that they followed state determined rules and did the work under BSL-2. Yes China has the right to set their own policy. You believe this was appropriate containment if you want but don’t expect me to believe it. Moreover, don’t insult my intelligence by trying to feed me this load of BS.”
• SARS‑CoV‑2 is a stealthy virus that transmits effectively through the air, causes a range of symptoms similar to those of other common respiratory diseases and can be spread by infected people before symptoms even appear. If the virus had escaped from a BSL-2 laboratory in 2019, the leak most likely would have gone undetected until too late.
• One alarming detail — leaked to The Wall Street Journal and confirmed by current and former U.S. government officials — is that scientists on Dr. Shi’s team fell ill with Covid-like symptoms in the fall of 2019 . One of the scientists had been named in the Defuse proposal as the person in charge of virus discovery work. The scientists denied having been sick .

4 The hypothesis that Covid-19 came from an animal at the Huanan Seafood Market in Wuhan is not supported by strong evidence.

• In December 2019, Chinese investigators assumed the outbreak had started at a centrally located market frequented by thousands of visitors daily. This bias in their search for early cases meant that cases unlinked to or located far away from the market would very likely have been missed. To make things worse, the Chinese authorities blocked the reporting of early cases not linked to the market and, claiming biosafety precautions, ordered the destruction of patient samples on January 3, 2020, making it nearly impossible to see the complete picture of the earliest Covid-19 cases. Information about dozens of early cases from November and December 2019 remains inaccessible.
• A pair of papers published in Science in 2022 made the best case for SARS‑CoV‑2 having emerged naturally from human-animal contact at the Wuhan market by focusing on a map of the early cases and asserting that the virus had jumped from animals into humans twice at the market in 2019. More recently, the two papers have been countered by other virologists and scientists who convincingly demonstrate that the available market evidence does not distinguish between a human superspreader event and a natural spillover at the market.
• Furthermore, the existing genetic and early case data show that all known Covid-19 cases probably stem from a single introduction of SARS‑CoV‑2 into people, and the outbreak at the Wuhan market probably happened after the virus had already been circulating in humans.

An analysis of SARS-CoV-2’s evolutionary tree shows how the virus evolved as it started to spread through humans.

SARS-COV-2 Viruses closest

to bat coronaviruses

more mutations

Source: Lv et al., Virus Evolution (2024) , as reproduced by Jesse Bloom

The viruses that infected people linked to the market were most likely not the earliest form of the virus that started the pandemic.

• Not a single infected animal has ever been confirmed at the market or in its supply chain. Without good evidence that the pandemic started at the Huanan Seafood Market, the fact that the virus emerged in Wuhan points squarely at its unique SARS-like virus laboratory.

5 Key evidence that would be expected if the virus had emerged from the wildlife trade is still missing.

In previous outbreaks of coronaviruses, scientists were able to demonstrate natural origin by collecting multiple pieces of evidence linking infected humans to infected animals.

Infected animals

Earliest known

cases exposed to

live animals

Antibody evidence

of animals and

animal traders having

been infected

Ancestral variants

of the virus found in

Documented trade

of host animals

between the area

where bats carry

closely related viruses

and the outbreak site

Infected animals found

Earliest known cases exposed to live animals

Antibody evidence of animals and animal

traders having been infected

Ancestral variants of the virus found in animals

Documented trade of host animals

between the area where bats carry closely

related viruses and the outbreak site

For SARS-CoV-2, these same key pieces of evidence are still missing , more than four years after the virus emerged.

For SARS-CoV-2, these same key pieces of evidence are still missing ,

more than four years after the virus emerged.

• Despite the intense search trained on the animal trade and people linked to the market, investigators have not reported finding any animals infected with SARS‑CoV‑2 that had not been infected by humans. Yet, infected animal sources and other connective pieces of evidence were found for the earlier SARS and MERS outbreaks as quickly as within a few days, despite the less advanced viral forensic technologies of two decades ago.
• Even though Wuhan is the home base of virus hunters with world-leading expertise in tracking novel SARS-like viruses, investigators have either failed to collect or report key evidence that would be expected if Covid-19 emerged from the wildlife trade . For example, investigators have not determined that the earliest known cases had exposure to intermediate host animals before falling ill. No antibody evidence shows that animal traders in Wuhan are regularly exposed to SARS-like viruses, as would be expected in such situations.
• With today’s technology, scientists can detect how respiratory viruses — including SARS, MERS and the flu — circulate in animals while making repeated attempts to jump across species . Thankfully, these variants usually fail to transmit well after crossing over to a new species and tend to die off after a small number of infections. In contrast, virologists and other scientists agree that SARS‑CoV‑2 required little to no adaptation to spread rapidly in humans and other animals . The virus appears to have succeeded in causing a pandemic upon its only detected jump into humans.

The pandemic could have been caused by any of hundreds of virus species, at any of tens of thousands of wildlife markets, in any of thousands of cities, and in any year. But it was a SARS-like coronavirus with a unique furin cleavage site that emerged in Wuhan, less than two years after scientists, sometimes working under inadequate biosafety conditions, proposed collecting and creating viruses of that same design.

While several natural spillover scenarios remain plausible, and we still don’t know enough about the full extent of virus research conducted at the Wuhan institute by Dr. Shi’s team and other researchers, a laboratory accident is the most parsimonious explanation of how the pandemic began.

Given what we now know, investigators should follow their strongest leads and subpoena all exchanges between the Wuhan scientists and their international partners, including unpublished research proposals, manuscripts, data and commercial orders. In particular, exchanges from 2018 and 2019 — the critical two years before the emergence of Covid-19 — are very likely to be illuminating (and require no cooperation from the Chinese government to acquire), yet they remain beyond the public’s view more than four years after the pandemic began.

Whether the pandemic started on a lab bench or in a market stall, it is undeniable that U.S. federal funding helped to build an unprecedented collection of SARS-like viruses at the Wuhan institute, as well as contributing to research that enhanced them . Advocates and funders of the institute’s research, including Dr. Fauci, should cooperate with the investigation to help identify and close the loopholes that allowed such dangerous work to occur. The world must not continue to bear the intolerable risks of research with the potential to cause pandemics .

A successful investigation of the pandemic’s root cause would have the power to break a decades-long scientific impasse on pathogen research safety, determining how governments will spend billions of dollars to prevent future pandemics. A credible investigation would also deter future acts of negligence and deceit by demonstrating that it is indeed possible to be held accountable for causing a viral pandemic. Last but not least, people of all nations need to see their leaders — and especially, their scientists — heading the charge to find out what caused this world-shaking event. Restoring public trust in science and government leadership requires it.

A thorough investigation by the U.S. government could unearth more evidence while spurring whistleblowers to find their courage and seek their moment of opportunity. It would also show the world that U.S. leaders and scientists are not afraid of what the truth behind the pandemic may be.

More on how the pandemic may have started

Where Did the Coronavirus Come From? What We Already Know Is Troubling.

Even if the coronavirus did not emerge from a lab, the groundwork for a potential disaster had been laid for years, and learning its lessons is essential to preventing others.

By Zeynep Tufekci

Why Does Bad Science on Covid’s Origin Get Hyped?

If the raccoon dog was a smoking gun, it fired blanks.

By David Wallace-Wells

A Plea for Making Virus Research Safer

A way forward for lab safety.

By Jesse Bloom

The Times is committed to publishing a diversity of letters to the editor. We’d like to hear what you think about this or any of our articles. Here are some tips . And here’s our email: [email protected] .

Follow the New York Times Opinion section on Facebook , Instagram , TikTok , WhatsApp , X and Threads .

Alina Chan ( @ayjchan ) is a molecular biologist at the Broad Institute of M.I.T. and Harvard, and a co-author of “ Viral : The Search for the Origin of Covid-19.” She was a member of the Pathogens Project , which the Bulletin of the Atomic Scientists organized to generate new thinking on responsible, high-risk pathogen research.

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