Three Character Classic

Three Character Classic
Chinese name
Traditional Chinese三字經
Simplified Chinese三字经
Hanyu PinyinSānzì Jīng
Transcriptions
Standard Mandarin
Hanyu PinyinSānzì Jīng
Bopomofoㄙㄢ   ㄗˋ   ㄐㄧㄥ
Gwoyeu RomatzyhSantzyh Jing
Wade–GilesSan¹ Tzŭ⁴ Ching¹
Yale RomanizationSāndz̀ Jīng
IPA[sán.tsɹ̩̂ tɕíŋ]
Wu
Romanizationse zy cin
Yue: Cantonese
Yale RomanizationSāamjih Gīng
JyutpingSaam1zi6 Ging1
IPA[sam˥.tsi˨ kɪŋ˥]
Southern Min
Hokkien POJSam-jī-keng
Tâi-lôSam-jī-king
Vietnamese name
Vietnamese alphabetTam tự kinh
Chữ Hán三字經
Korean name
Hangul삼자경
Hanja三字經
Transcriptions
Revised RomanizationSamjagyeong
Japanese name
Kanji三字経
Kanaさんじきょう
Transcriptions
RomanizationSanjikyō

The Three Character Classic (Chinese: 三字经, 三字經), commonly known as San Zi Jing,[1] also translated as Trimetric Classic,[2] is one of the Chinese classic texts. It was probably written in the 13th century and is mainly attributed to Wang Yinglin (王應麟, 1223–1296) during the Song dynasty. It is also attributed to Ou Shizi (1234–1324).

The work is not one of the traditional six Confucian classics, but rather the embodiment of Confucianism suitable for teaching young children.[3] Until the latter part of the 1800s, it served as a child's first formal education at home. The text is written in triplets of characters for easy memorization. With illiteracy common for most people at the time, the oral tradition of reciting the classic ensured its popularity and survival through the centuries.[citation needed] With the short and simple text arranged in three-character verses, children learned many common characters, grammar structures, elements of Chinese history and the basis of Confucian morality, especially filial piety and respect for elders (the Five Relationships in Chinese society).[4]

During the Ming and Qing dynasties, the Three Character Classic formed the basis of elementary education, along with Hundred Family Surnames and Thousand Character Classic.[5] The group came to be known as San Bai Qian (Three, Hundred, Thousand), from the first character in their titles. They were the almost universal introductory literacy texts for students, almost exclusively boys, from elite backgrounds and even for a number of ordinary villagers. Each was available in many versions, printed cheaply, and available to all since they did not become superseded. When a student had memorized all three, they could recognize and pronounce, though not necessarily write or understand the meaning of, roughly 2,000 characters (there was some duplication among the texts). Since Chinese did not use an alphabet, this was an effective, though time-consuming, way of giving a "crash course" in character recognition before going on to understanding texts and writing characters.[6]

The text fell into disuse during the Cultural Revolution given the state's opposition to non-socialist ideologies. The classic, however, continued to circulate in other parts of the Chinese-speaking world with its inclusion in the Chinese Almanac (通勝) along with several other classics such as the Thousand Character Classic.

The first four verses state the core credo of Confucianism, that is, that human nature is inherently good, as developed by Mencius, considered one of the most influential traditional Chinese philosophers after Confucius.[3]

人之初 (rén zhī chū) People at birth,
性本善 (xìng běn shàn) Are naturally good (kind-hearted).
性相近 (xìng xiāng jìn) Their natures are similar,
習相遠 (xí xiāng yuǎn) (But) their habits make them different (from each other).

Even nowadays, the above two introductory quotes are very familiar to most youth in mainland China, Hong Kong and Taiwan, if not known by heart. Though the work is no longer taught at public schools (it is still taught in Beijing today if not in all schools), some parents still use this classic to teach their young children to pronounce Chinese characters. It is sometimes a game for elementary school children to show off who can recite the most sentences from this classic.[citation needed]

  1. ^ "San Zi Jing". Library of Congress. Retrieved 2010-08-15.
  2. ^ Minjie Chen (22 January 2016). The Sino-Japanese War and Youth Literature: Friends and Foes on the Battlefield. Routledge. pp. 15–. ISBN 978-1-317-50881-6.
  3. ^ a b Scollon, Ron; Suzanne Wong Scollon; Rodney H. Jones (3 January 2012). Intercultural Communication: A Discourse Approach. Vol. 35. John Wiley & Sons. pp. 166–167. ISBN 9780470656402.
  4. ^ Kutcher, Norman (2006). Mourning in Late Imperial China: Filial Piety and the State. Cambridge University Press. pp. 27. ISBN 9780521030182.
  5. ^ Johnson, David; Andrew James Nathan (1987). Popular Culture in Late Imperial China. University of California Press. p. 29. ISBN 9780520061729.
  6. ^ Rawski (1979), pp. 46–48.