Tale telling was an artistic form of telling stories through talking and singing that originated in the pre-Qin times. By the late years of the Han Dynasty to the Wei and Jin period, Buddhists and Daoists started to interpret religious scripts with vernacular language and vivid stories. In the Tang Dynasty, monks used talking and singing to interpret religious doctrines. On the basis of these early attempts, tale telling prospered in the Song Dynasty. It was no longer confined to temples, but became a form of popular entertainment on stages and at marketplaces. It included many subgenres such as histories based on works of authors of the Han to the Tang dynasties, skits with talking and singing, farces, stories of the Three Kingdoms and stories of the Five Dynasties and Ten Kingdoms. In the Southern Song Dynasty, tale telling covered four subjects: stories told to the accompaniment of a wind instrument, war stories, histories of past dynasties as well as Buddhist allegories and tales about wise thoughts inspired by worshipping at shrines. Tale telling entertainers were good at talking, singing and telling jokes; and drums, gongs and other musical instruments were used to enhance the appeal. Poetic lines were read and an anecdote was told at the beginning of the show, a trick used by performers that drew cheers and applause from early comers and ensured that late arrivals would not miss the main show. Performances would often end with a recitation of other poetic lines. Tale telling was very popular among common folks throughout the Song Dynasty. The scripts thus developed became an important part of old-time vernacular Chinese fiction.
Originally, the term meant to command a good knowledge of documents from pervious dynasties. Wen (文) referred to documents, and xue (学) referred to the study of these documents. Later, the term referred to articles and documents in general as well as the knowledge about those documentations. The term had three main meanings. Firstly, from the pre-Qin period to the end of the Eastern Han Dynasty, it meant knowledge of ancient literature, especially that of humanities including poetry, history, rites and music, as well as works of laws and regulations. Starting from the Wei and Jin dynasties, the term basically became equivalent to today’s concept of literature, but it also referred to academic writings on humanities. With the introduction of the Western concept of literature in recent history, the term gradually evolved to mean a pursuit that uses language to create aesthetic images. However, a few scholars, such as Zhang Taiyan(1869—1936), stuck to its traditional definition. The original meaning of the term determined the mainstream view on literature in contemporary China, which focuses on examining a literary phenomenon in the broader cultural context and emphasizing the intrinsic relationship between the aesthetic values of literature and liberal arts. This is somewhat different from the Western notion of literature which highlights the independent nature of literary appreciation. Secondly, the term refers broadly to various kinds of articles and documents in ancient times. Thirdly, it refers to scholars who promote learning through writing and teaching, as well as officials in charge of culture and education.
Chuanqi (Legendary Story / Legendary Play)
This is a term for a literary form. It refers to three types of artistic works: 1) A type of short story in the Tang and Song dynasties that might be evolved from tales of the supernatural in the earlier Six Dynasties. Later its subjects widened to include social life, and stories about people and events. Chuan (传) means “legendary” and qi (奇) means “strange and unusual,” so the term originally means recounting tales of strange and extraordinary events that have been passed down by word of mouth. The work Legendary Stories by Pei Xing in the Tang Dynasty is probably the earliest work that uses the term. In the Song Dynasty, the Tang novel The Story of Yingying is considered a chuanqi, while the Yuan people called all Tang stories chuanqi of Tang. Song Dynasty chuanqi were more realistic and vernacular than those of the Tang. 2) Song-speech drama, Southern opera and Yuan zaju in the Song and Yuan dynasties, most of which were based on Tang stories. 3) Full-length operas in the Ming and Qing dynasties, which were based on the Southern Opera(Nanxi), and also included some Yuan zaju features. Typical works include The Story of Washing Gauze by Liang Chenyu (1519-1591), Peach Blossom Fan by Kong Shangren (1648-1718), The Palace of Eternal Life by Hong Sheng (1645-1704). The ancient style of chuanqi has evolved and been innovated over the centuries, both in story content and performance techniques. However, its main purpose is still to “tell stories of strange happenings and unusual people.”
Fiction is a literary genre primarily concerned with depicting characters to tell a complete story about social life within a setting. Fiction has three main elements, namely, characters, a plot, and a setting. Depending on the length, fiction can be divided into novels, novellas, and short stories. In terms of content, traditional Chinese fiction can be divided into the following broad categories: fantasy stories of gods and spirits, historical fiction, heroic legendary tales, and stories about human relations and social mores. In terms of genre, traditional Chinese fiction is divided into literary sketches, legendary tales, story- tellers’ prompt-books, and chapter-based novels. In terms of language, there is fiction in the classical language and vernacular fiction. Traditional Chinese fiction has evolved through different stages, with distinctive features for each period. The myths, legends and historical biographies of the pre-Qin and Han dynasties, and the fables in the works of the earlier Chinese thinkers were the sources of traditional Chinese fiction. The literary sketches by men of letters in the Wei, Jin, Northern and Southern dynasties were embryonic forms of traditional fiction. The legendary tales of the Tang Dynasty marked the eventual emergence of Chinese fiction. The story-tellers’ prompt-books in the Song and Yuan dynasties laid the foundation that allowed traditional fiction to reach maturity. The novels of the Ming and Qing dynasties marked the peak in the development of pre-modern fiction. That period is famous for producing great Chinese classical novels, namely, Romance of the Three Kingdoms, Journey to the West, Outlaws of the Marsh and Dream of the Red Chamber. During and after the New Culture Movement and the May 4th Movement around 1919, a large amount of modern vernacular fiction appeared, bringing forth a message of science and democracy of the modern age.