English Introduction (Oral Version)
"Chinese Wisdom in 50 Idioms" presents fifty famous Chinese idiom stories from history. These stories capture the essence of Chinese culture, showcasing virtues like perseverance, integrity, cleverness, and lessons from mistakes. Each story is easy to understand and highlights important life philosophies, historical wisdom, and practical guidance for everyday life. By exploring these idioms, readers can improve both their language skills and cultural knowledge.
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English Table of Contents (1–50)
1. The Foolish Old Man Removes the Mountains
2. A Promise Worth a Thousand Gold
3. Adding Eyes to the Dragon
4. A Frog at the Bottom of a Well
5. Rise at the Sound of a Rooster
6. Return the Jade Intact to Zhao
7. Surrounded by Enemies
8. Give Way Three Li
9. Sleeping on Brushwood and Tasting Gall
10. Standing in the Snow at Cheng's Door
11. Filling a Count with Fake Instruments
12. Learning the Walk of Handan
13. Carving Marks to Find a Sword
14. Drawing Cakes to Satisfy Hunger
15. Lips Gone, Teeth Cold
16. Strike While the Iron is Hot
17. Military Theory on Paper
18. Penetrating Deep into the Wood
19. Glued Zither Bridges
20. Abandoning the Pen for the Sword
21. Quenching Thirst with Plums
22. Calling a Deer a Horse
23. Confidence in the Bamboo
24. Changing Mind Like Morning and Evening
25. Breaking the Cauldrons and Sinking the Boats
26. Correcting a Mistake Too Far
27. Puzzling and Unclear
28. Flowery and Exaggerated Words
29. No Risk, No Reward
30. A Word Worth a Thousand Gold
31. A Startled Bird
32. The Clam and the Sandpiper
33. Nervous as Wind and Crane
34. Seeing a Snake in the Cup
35. Master of a Single Word
36. Drawing a Prison on the Ground
37. Recommending Oneself
38. The More, the Better
39. Unasked-for Food
40. Grinding an Iron Rod into a Needle
41. Rascals of the Same Hill
42. Chef Ding Carving an Ox
43. So Happy as to Forget Home
44. Paper in Luoyang Becomes Scarce
45. Hesitating to Kill Mice for Fear of Breaking Things
46. Like a Fish in Water
47. Too Many Crimes to Write Down
48. The Book Straps Broken Three Times
49. Wei Sheng Clinging to the Pillar
50. A Dream of Millet
1. 愚公移山 (Yú Gōng Yí Shān) - The Foolish Old Man Moves Mountains
Colloquial Equivalent: Where there's a will, there's a way.
Background/Story: This story is from the ancient text Liezi. An old man, almost ninety, named Yugong (The Foolish Old Man) lived in front of two enormous mountains, Taihang and Wangwu, which blocked his family's path to the plains. Yugong gathered his family and declared his plan: to dig up the two mountains and clear a path!
His family scoffed, asking where they'd dump the earth and rocks. Yugong laughed, saying he'd dump it into the distant sea. He then declared, "I am old, but I have sons. My sons will have grandsons, and they will have great-grandsons. Our descendants are endless, but the mountains won't grow any taller. One day, we will move them!"
A wise man in the village, Zhisou (The Wise Old Man), mocked Yugong for his stupidity. Yugong retorted that Zhisou had a narrow mind and couldn't see the power of collective, generational effort. The sheer determination of Yugong's family eventually moved the Heavenly Emperor, who, out of pity, sent two powerful gods to carry the mountains away.
Meaning: It symbolizes perseverance, strong resolve, and the belief that even the biggest difficulties can be overcome through consistent, long-term effort and teamwork.
2. 一諾千金 (Yī Nuò Qiān Jīn) - A Promise Worth a Thousand Pieces of Gold
Colloquial Equivalent: My word is my bond.
Background/Story: This idiom comes from the Records of the Grand Historian (Shi Ji) and features the general Ji Bu during the late Qin and early Han dynasties. Ji Bu was famous for his honesty and reliability. A common saying at the time was: "Getting a hundred pounds of gold is not as good as getting a single promise from Ji Bu."
Ji Bu was a fierce general for Liu Bang's rival, Xiang Yu. After Liu Bang founded the Han Dynasty, he put a massive bounty (a thousand pieces of gold) on Ji Bu's head and threatened execution for anyone who hid him. Despite the danger, an honorable man named Zhu hid Ji Bu, risking his own life because he admired Ji Bu's reputation. Zhu eventually convinced Liu Bang's closest advisor that killing Ji Bu would only drive a man of great integrity to serve an enemy nation. Liu Bang, recognizing the value of such a reputation, pardoned Ji Bu and gave him an official post.
Meaning: To describe someone who keeps their promises and whose word is highly trustworthy, implying that their verbal commitment is more valuable than a huge sum of money.
3. 畫龍點睛 (Huà Lóng Diǎn Jīng) - Putting the Eyes on the Dragon
Colloquial Equivalent: The finishing touch / The key stroke.
Background/Story: The story is about the artist Zhang Sengyao in the Southern Dynasties period, famous for painting dragons. He was commissioned to paint four dragons on a temple wall. His paintings were incredibly lifelike, but onlookers noticed one strange thing: none of the four dragons had eyes.
When asked why, Zhang explained: "If I put the eyes on them, the dragons will come alive and fly away." People thought he was exaggerating, so they insisted he prove it. Zhang sighed, took his brush, and added eyes to just two of the dragons. Immediately, there was a clap of thunder, and those two dragons burst through the wall and soared into the sky. The two without eyes remained on the wall.
Meaning: To describe adding a crucial, insightful, or brilliant detail (a finishing touch) to a piece of writing, speech, or project, making the whole thing suddenly come alive or become powerfully effective.
4. 井底之蛙 (Jǐng Dǐ zhī Wā) - A Frog at the Bottom of a Well
Colloquial Equivalent: A narrow view of the world.
Background/Story: This is a famous fable from the Zhuangzi text. A small frog lived happily in an abandoned well. To him, the circular patch of sky he saw above was the entire world. He would often boast to the insects about how spacious and great his little world was.
One day, a huge sea turtle from the East Sea came across the well. The frog proudly invited him down. The turtle tried to enter but was blocked by the narrow opening. The turtle then told the frog about the ocean: "The sea is so vast, a thousand miles of depth can't measure it. Whether there's a flood or a drought, the water level never changes. That is truly boundless. Your well is just a tiny mud pit compared to it." The frog was stunned, realizing how tiny and narrow his world view had been.
Meaning: To describe a person who has extremely limited knowledge or experience and is ignorant of the vastness of the world or the depth of a subject outside their small sphere.
5. 聞雞起舞 (Wén Jī Qǐ Wǔ) - Dancing/Practicing at the Cock's Crow
Colloquial Equivalent: Rise and shine for success.
Background/Story: This idiom comes from the History of Jin (Jin Shu) and features two friends, Zu Ti and Liu Kun, during a chaotic period in the Western Jin Dynasty. Both young men were highly ambitious and dreamed of restoring peace to their troubled nation.
They shared a room, often discussing military strategy and the state of the country late into the night. One deep morning, Zu Ti was woken by the loud, spirited crowing of a rooster. He immediately woke Liu Kun, saying, "Listen! This isn't just a rooster; it's a sign from heaven urging us to work hard! We can't waste a minute in comfort!"
From that day on, the two friends made a pact: as soon as they heard the rooster's first crow, they would jump out of bed, go to the courtyard, and practice their sword fighting, honing their bodies and strengthening their resolve. Both men later became famous generals who fought tirelessly to defend their country.
Meaning: To describe someone who is extremely diligent and self-motivated, rising early and working tirelessly to achieve a great goal or strengthen themselves.
6. 完璧歸趙 (Wán Bì Guī Zhào) - Returning the Jade Intact to Zhao
Colloquial Equivalent: Returning something in perfect condition.
Background/Story: This story is from the Records of the Grand Historian (Shi Ji), set in the Warring States period. The Zhao state possessed a priceless jade, the Heshibi. The powerful King of Qin offered to trade 15 cities for it. The King of Zhao was worried: giving the jade meant losing it for sure; refusing meant angering Qin.
The official Lin Xiangru volunteered to go, promising: "If the King of Qin gives the cities, I'll leave the jade. If he doesn't, I will ensure its safe return (wan bi gui zhao)." Lin Xiangru presented the jade, but the King of Qin admired it without mentioning the cities. Realizing the King planned to cheat, Lin Xiangru quickly snatched the jade back, threatened to smash it against a pillar, and then secretly had a servant take it back to Zhao. He later returned to Qin empty-handed, daring the King to kill him. The King, fearing a loss of face, released him.
Meaning: To return something that was borrowed or entrusted to you completely unharmed and in its original, perfect state.
7. 四面楚歌 (Sì Miàn Chǔ Gē) - Chu Songs from All Sides
Colloquial Equivalent: To be completely surrounded / To be in dire straits.
Background/Story: This comes from the Records of the Grand Historian (Shi Ji), describing the final defeat of the legendary general Xiang Yu (King of Chu) by Liu Bang (King of Han) at the Battle of Gaixia. Xiang Yu's army was outnumbered, exhausted, and completely besieged by the Han forces.
One night, as Xiang Yu rested, he suddenly heard sad, slow songs drifting in from all directions. To his horror, the songs were the folk tunes of his own Chu homeland! He was shocked: "Has the Han army already conquered Chu? Why are there so many Chu people in the Han army?"
The songs shattered the morale of his remaining troops. Hearing the familiar voices of home, they lost all will to fight, believing their families were conquered and their cause was lost. Many soldiers deserted or surrendered that night, confirming Xiang Yu's desperate situation before his final, tragic stand.
Meaning: To be isolated, cut off, and surrounded by overwhelming opposition or difficulties, resulting in a feeling of being utterly hopeless or doomed.
8. 退避三舍 (Tuì Bì Sān Shè) - Retreating Ninety Li (Three She)
Colloquial Equivalent: To yield with humility and respect.
Background/Story: This story is from the Zuo Zhuan and features Chong'er, who later became Duke Wen of Jin (one of the Five Hegemons of the Spring and Autumn Period). During his 19 years of exile, Chong'er was treated with great respect by the King of Chu.
The King asked Chong'er: "If you return to Jin and become the ruler, how will you repay me?" Chong'er replied, "I have nothing to offer now. If our two nations ever meet on the battlefield, I promise to retreat three she (about 90 li or 30 miles) to show my gratitude. If you press the attack further, then I will have no choice but to defend myself."
Years later, Chong'er returned and became Duke Wen of Jin. When his powerful state clashed with Chu, he ordered his army to retreat 90 li to honor his promise. The Chu army, thinking Jin was afraid, pressed forward carelessly, allowing Duke Wen to seize the initiative and utterly defeat them, securing his hegemonic status.
Meaning: To voluntarily step back, yield, or avoid a confrontation to show respect, maintain peace, or honor a past commitment.
9. 臥薪嘗膽 (Wò Xīn Cháng Dǎn) - Sleeping on Brushwood and Tasting Gall
Colloquial Equivalent: To steel oneself for revenge / To endure hardship for an ambitious goal.
Background/Story: This comes from the Records of the Grand Historian (Shi Ji), set during the Spring and Autumn Period involving the states of Wu and Yue. King Goujian of Yue was defeated by King Fuchai of Wu and forced to serve as a slave in Wu for three years, enduring total humiliation.
After being released, Goujian vowed revenge. He embarked on a 20-year path of intense self-discipline to strengthen his state and his will:
1. Sleeping on Brushwood (\text{臥薪}): He gave up his comfortable bed and slept on sharp, uncomfortable brushwood, so the pain would constantly remind him of his humiliation in Wu.
2. Tasting Gall (\text{嘗膽}): He hung a bitter gall bladder in his room. Every morning and before every meal, he would taste it, the extreme bitterness serving as a constant reminder of his defeat and the goal of restoration.
He succeeded, eventually defeating and completely conquering the state of Wu.
Meaning: To describe extreme dedication, self-deprivation, and determined hard work endured over a long period to achieve a difficult, ambitious goal or to exact revenge.
10. 程門立雪 (Chéng Mén Lì Xuě) - Standing in the Snow at Cheng's Gate
Colloquial Equivalent: The sincerity of a devoted student.
Background/Story: This comes from the History of Song (Song Shi), featuring the famous Neo-Confucian philosopher Cheng Yi and his students, Yang Shi and You Zuo. Yang Shi, already an official, traveled a great distance to study with the master Cheng Yi.
One cold winter day, Yang Shi and his friend went to Cheng Yi's house to ask for guidance. When they arrived, Cheng Yi was sitting in his room, dozing or deep in thought. Knowing the master should not be disturbed, Yang Shi and his friend quietly stood outside the door to wait.
It began to snow heavily, and the snow piled up high around their feet, covering them like snowmen. They stood there, motionless, until Cheng Yi finally woke up and opened the door. He was deeply moved by their patience and sincere respect for learning.
Meaning: To describe a student's sincere devotion, deep respect for the teacher, and eagerness to learn (the Chinese tradition of zun shi zhong dao—revering the teacher and respecting the way).
11. 濫竽充數 (Làn Yú Chōng Shù) - Filling a Position Just to Make Up the Numbers (Playing a Broken Reed Pipe)
Colloquial Equivalent: To be a token member / A square peg in a round hole.
Background/Story: This fable from the Han Feizi features King Xuan of Qi, who loved to hear the yu (a kind of pipe instrument) played in large ensembles of 300 musicians. A man named Nanguo couldn't play the yu but managed to join the massive orchestra.
During the loud, chaotic ensembles, Nanguo just pretended to play, making no sound, and nobody noticed. He collected a handsome salary for a long time. However, when King Xuan died, his son, King Min, took over. King Min preferred to listen to musicians play solo, one by one. Terrified that his lack of skill would be exposed when it was his turn, Nanguo quickly packed his bags and fled the palace forever.
Meaning: To describe someone who lacks the required talent or skill but is included in a group to fill a quota or make up the numbers. It is also used to refer to something of poor quality being passed off as genuine.
12. 邯鄲學步 (Hán Dān Xué Bù) - Learning the Handan Walk
Colloquial Equivalent: Losing one's own identity through blind imitation.
Background/Story: This is another famous fable from the Zhuangzi text. During the Warring States period, the city of Handan (capital of Zhao) was famous for its elegant, refined local style of walking.
A young man from the state of Yan (far to the north) heard about this walk and was so impressed that he traveled a great distance to Handan to learn it. He observed the locals, tried to imitate their every step, and practiced diligently. However, he failed to grasp the essence of the Handan style.
Worse yet, he became so focused on trying to imitate the new walk that he forgot his own original way of walking. In the end, he was so confused and clumsy that he had to crawl or stumble all the way back home.
Meaning: To describe blindly or rigidly copying others, not only failing to learn their strengths but also losing one's own original abilities or unique characteristics in the process.
13. 刻舟求劍 (Kè Zhōu Qiú Jiàn) - Marking the Boat to Find the Sword
Colloquial Equivalent: To be rigid and inflexible / Not adapting to changing circumstances.
Background/Story: This is a famous fable from the ancient text Lüshi Chunqiu (The Annals of Lü Buwei). A man was crossing a river on a ferry boat, carrying his sword. The sword accidentally fell out of the boat and into the river.
The man immediately took out a knife and carved a mark on the side of the boat precisely where the sword had dropped. He said to the others, "My sword fell here; I've marked the spot!" The boat continued to move until it reached the shore. When the boat docked, the man jumped into the water at the spot where he had made the mark, trying to find his sword.
Everyone laughed at him. "The boat kept moving after the sword dropped! The sword is long gone, sunk far upstream!" But the man insisted, "The mark is here, so the sword must be here!"
Meaning: To describe someone who is stubbornly holding on to outdated methods, knowledge, or ideas, and fails to recognize that circumstances have changed, showing a lack of flexibility.
14. 畫餅充飢 (Huà Bǐng Chōng Jī) - Drawing a Cake to Satisfy Hunger
Colloquial Equivalent: False comfort / Living on empty promises.
Background/Story: This idiom comes from the Records of the Three Kingdoms (Sanguo Zhi). During the Wei Dynasty, an official named Lu Yu was put in charge of selecting new talent for the government. At the time, some people argued that selecting officials should be based on reputation and fame alone, without overly scrutinizing their practical abilities.
Lu Yu strongly opposed this view. He reported to the Emperor, stating: "If we select officials based only on their reputation without looking at their true ability, it is just like drawing a cake to satisfy hunger." His point was that a painted cake, though beautiful to look at, cannot actually fill your stomach. Similarly, officials with only a good name but no real talent cannot solve the nation's practical problems.
Meaning: To describe deluding oneself with empty or unrealistic hopes/fantasies instead of dealing with reality, or using impractical, theoretical talk that cannot solve a real problem.
15. 脣亡齒寒 (Chún Wáng Chǐ Hán) - If the Lips Are Gone, the Teeth Feel the Cold
Colloquial Equivalent: Interdependence / A shared fate.
Background/Story: This comes from the Zuo Zhuan and involves the states of Jin, Guo, and Yu during the Spring and Autumn Period. The powerful state of Jin wanted to attack the small state of Guo, but the state of Yu lay between them.
The Duke of Jin offered a huge bribe of precious jewels and fine horses to the Duke of Yu, asking for passage through Yu to attack Guo. Yu's minister, Gong Zhiqi, frantically tried to dissuade his ruler, arguing: "Guo is like the lips to Yu's teeth. If the lips disappear, the teeth will feel the cold! Guo is our shield; if Jin destroys Guo, Yu will be exposed, and we will be next!"
The Duke of Yu, greedy for the gifts, ignored the warning. Jin was granted passage, destroyed Guo, and on the way back, predictably, destroyed Yu as well, reclaiming their gifts and taking all of Yu's land.
Meaning: To describe two mutually dependent parties where the destruction or ruin of one will inevitably lead to the downfall or suffering of the other.
16. 一鼓作氣 (Yī Gǔ Zuò Qì) - The First Drum Beats Up the Spirit
Colloquial Equivalent: In a single rush / Seizing the moment.
Background/Story: This comes from the Zuo Zhuan and features the humble strategist Cao Gui from the state of Lu, who was advising the Duke during a major battle against the powerful state of Qi.
The two armies faced each other. The Qi army, numerous and confident, beat the drum to signal the first charge. The Duke of Lu wanted to respond immediately. Cao Gui stopped him: "Not yet!" The Qi army beat the drum a second time. Cao Gui stopped the Duke again: "Not yet!" By the third drumbeat, the Qi army's initial fervor and spirit had waned (the initial qi was gone).
Cao Gui then said, "Now!" The Lu army charged, fresh and spirited, against the now-sluggish Qi forces. They won a great victory. Cao Gui explained: "Spirit is key in battle. The first drum beat raises the spirit to its peak (\text{一鼓作氣}). The second diminishes it. The third exhausts it."
Meaning: To describe doing something vigorously and quickly, immediately taking action while one's courage or enthusiasm is at its highest point—seizing the initiative.
17. 紙上談兵 (Zhǐ Shàng Tán Bīng) - Discussing War on Paper
Colloquial Equivalent: Armchair strategy / All theory, no practice.
Background/Story: This comes from the Records of the Grand Historian (Shi Ji), featuring Zhao Kuo, the son of the famous Zhao general Zhao She. Zhao Kuo loved reading military books and could talk endlessly about strategy and tactics, even out-debating his father. However, he had no actual combat experience. His father famously told his wife, "War is a matter of life and death, but Kuo talks about it too easily. If he ever commands an army, he will ruin it."
Later, during a crucial battle with Qin at Changping, the King of Zhao ignored the warnings of his elders and replaced the veteran general with the young, theory-obsessed Zhao Kuo. As soon as he took command, Zhao Kuo ditched the defensive strategy and aggressively marched out. The Qin general Bai Qi easily outmaneuvered him, surrounded his army, and cut off their supplies, resulting in the complete annihilation of the 400,000 Zhao troops.
Meaning: To describe someone who talks about a subject with great confidence and theoretical knowledge, but lacks any practical experience, making their plans useless in reality.
18. 入木三分 (Rù Mù Sān Fēn) - Three Tenths of an Inch into the Wood
Colloquial Equivalent: Deeply insightful / Penetrating.
Background/Story: This comes from Zhang Huaiguan's Records of Calligraphy (Shu Duan), featuring the "Sage of Calligraphy," Wang Xizhi, in the Eastern Jin Dynasty. Wang Xizhi's skill was unparalleled, with a powerful, spirited brushstroke.
One day, the Emperor commanded Wang Xizhi to write a new plaque for a ceremony. After the writing was finished, the wooden board was given to the craftsmen for carving. The craftsmen were astonished: when they chiseled into the wood, they found that the ink from Wang Xizhi's brush had not just rested on the surface, but had penetrated three-tenths of an inch (\text{入木三分}) into the wood grain. This showed the incredible force and control in his hand.
Meaning: Originally used to describe powerful, forceful calligraphy. It is now used to describe deep, profound, or penetrating insights in writing, speeches, or observation.
19. 膠柱鼓瑟 (Jiāo Zhù Gǔ Sè) - Gluing the Frets and Playing the Zither
Colloquial Equivalent: Rigid adherence to rules / Inflexibility.
Background/Story: The se is a traditional Chinese zither. To play different notes and melodies, the movable frets (zhu) must be shifted along the strings. This idiom describes a stubborn musician who decided to glue the frets (\text{膠柱}) in place on the zither. Once the frets were glued down, the pitch could never be changed, and the musician could only produce a monotonous, unchangeable tune.
The idiom was later used by the diplomat Lin Xiangru to describe the King of Qin's stubborn refusal to stick to his word.
Meaning: To describe someone who is stubborn, rigid, and adheres so strictly to a rule or set method that they cannot adapt to changing situations (similar to Marking the Boat to Find the Sword).
20. 投筆從戎 (Tóu Bǐ Cóng Róng) - Throwing Away the Pen to Join the Army
Colloquial Equivalent: Trading the gown for the sword / Giving up a soft life for a hard one.
Background/Story: This comes from the Book of Later Han (Hou Han Shu), featuring Ban Chao, the younger brother of the famous historian Ban Gu. Ban Chao was a talented scholar but was stuck in a boring, low-paying job as a copyist for the government.
One day, he became so frustrated with his mundane life that he angrily threw his writing brush (\text{投筆}) to the ground. He declared to his colleagues: "A true man should follow the example of great men of old—establish great deeds in foreign lands, win titles, and conquer enemies—how can I waste my life in this pen-and-ink job?" His colleagues laughed at his ambition.
Ban Chao, however, was serious. He abandoned his literary life and joined the military. He eventually became a renowned general and diplomat who spent 30 years in Central Asia, bringing dozens of kingdoms back into the Han Empire's sphere of influence.
Meaning: To describe a scholar or civilian who gives up an easy, academic, or civil life to join the military or take up a difficult, martial, or adventurous pursuit for a higher purpose.
21. 望梅止渴 (Wàng Méi Zhǐ Kě) - Looking at Plums to Quench Thirst
Colloquial Equivalent: Wishful thinking / Self-deception.
Background/Story: This story is from A New Account of Tales of the World (Shi Shuo Xin Yu), featuring Cao Cao in the Three Kingdoms period. Cao Cao was leading his troops through a vast, hot, desolate area. The water ran out, and the soldiers were desperately thirsty and exhausted.
Seeing that his army was about to collapse from dehydration, Cao Cao quickly rode his horse to a high point. He pointed his whip forward and shouted to his soldiers: "Soldiers! Just ahead of us is a massive plum orchard! The plums are ripe and extremely sour—we can eat them to quench our thirst!"
Upon hearing the word "plums," the soldiers' mouths immediately began to water due to psychological suggestion. The rush of saliva temporarily alleviated their extreme thirst and lifted their spirits, allowing them to speed up their march and eventually find a real water source.
Meaning: To describe seeking self-consolation or temporary relief through imagining things (using an unrealistic fantasy) rather than dealing with the actual, difficult problem.
22. 指鹿為馬 (Zhǐ Lù Wéi Mǎ) - Pointing at a Deer and Calling It a Horse
Colloquial Equivalent: Deliberate misrepresentation / Calling black white.
Background/Story: This comes from the Records of the Grand Historian (Shi Ji), featuring the powerful, ruthless eunuch Zhao Gao during the Qin Dynasty. Zhao Gao secretly controlled the weak Emperor Qin Er Shi but was unsure how many court officials were loyal to him.
To test the officials' loyalty, he brought a deer (\text{鹿}) to court and presented it to the Emperor, saying, "Your Majesty, I present to you a fine horse (\text{馬})." The Emperor laughed and said, "Surely, you are mistaken, Prime Minister! This is clearly a deer!"
Zhao Gao sternly turned to the assembled officials and demanded: "What is this? Is it a horse, or is it a deer?" Those who valued their lives immediately agreed with Zhao Gao, saying it was a horse. Those who dared to say it was a deer were secretly noted by Zhao Gao and later purged or executed.
Meaning: To describe deliberately confusing right and wrong, twisting the truth, or using power to force others to agree with a blatant lie or error.
23. 胸有成竹 (Xiōng Yǒu Chéng Zhú) - Having a Complete Bamboo in One's Mind
Colloquial Equivalent: To have a clear vision / To be fully prepared.
Background/Story: This comes from the Song Dynasty, from a piece of writing by the famous poet Su Shi about his friend and fellow painter Wen Tong, who was a master of painting bamboo.
People were amazed by Wen Tong's fluid, life-like paintings. They asked him how he managed to paint such perfect bamboo in one smooth stroke. Wen Tong replied: "When I start to paint, I don't need to think about composition or how to use the brush. That's because a complete image of the bamboo is already fully formed in my mind."
Wen Tong explained that he had lived near bamboo forests for years, studying their growth, structure, and character in all weather. This deep understanding meant that the finished product already existed in his heart and mind before his brush even touched the paper.
Meaning: To describe someone who has a mature plan, a clear vision, or complete confidence before taking action because they are fully prepared and understand the subject thoroughly.
24. 朝三暮四 (Zhāo Sān Mù Sì) - Three in the Morning, Four in the Evening
Colloquial Equivalent: Fickle / Changing one's mind constantly.
Background/Story: This is a philosophical fable from the Zhuangzi text. An old man (Ju Gong) kept a large group of monkeys. When his food supply ran low, he had to ration their favorite food: acorns.
He called the monkeys together and announced: "I will give you acorns. Three (\text{三}) in the morning (\text{朝}) and four (\text{四}) in the evening (\text{暮}). Is that enough?" The monkeys went wild, leaping and chattering in anger at the small morning portion.
The old man immediately changed his offer: "Alright, alright. How about four in the morning and three in the evening?" The monkeys immediately calmed down and happily accepted the new arrangement. The total number of acorns was the same (seven), but the monkeys were fooled by the arrangement and timing.
Meaning: Originally, it meant deceiving people with trivial changes while the substance remains the same. It is now much more commonly used to describe someone who is fickle, constantly changing their mind, or lacking a fixed principle in their words or actions.
25. 破釜沉舟 (Pò Fǔ Chén Zhōu) - Smashing the Cauldrons and Sinking the Boats
Colloquial Equivalent: Burning the bridges / No turning back.
Background/Story: This comes from the Records of the Grand Historian (Shi Ji), describing the famous strategy of Xiang Yu (the Hegemon-King of Chu) during the Battle of Julu. Xiang Yu led a small army to relieve the siege of Julu, where the powerful Qin army was overwhelming the enemy.
To force his troops to fight with maximum desperation, Xiang Yu ordered the most extreme measures after crossing the river:
1. Smash the Cauldrons (\text{破釜}): Destroy all cooking utensils.
2. Sink the Boats (\text{沉舟}): Scuttle all the ships used for the crossing.
3. Limit Rations: Only issue three days' worth of dry food.
The soldiers were left with no retreat, no way to cook, and barely any food. Faced with the choice of dying by hunger or dying in battle, the Chu soldiers fought with ten times their usual strength, winning nine consecutive battles and completely routing the Qin army.
Meaning: To describe cutting off all possibility of retreat to demonstrate absolute determination or to describe a situation where one is forced to fight desperately for survival or success.
26. 矯枉過正 (Jiǎo Wǎng Guò Zhèng) - Straightening a Curve by Over-Bending
Colloquial Equivalent: Over-correcting / The remedy is worse than the disease.
Background/Story: This idiom comes from the Book of Later Han (Hou Han Shu) and is rooted in the concept of Moderation (Zhong Yong) in Confucianism. Jiao Wang (\text{矯枉}) means "to correct a wrong" or "to straighten something crooked." Guo Zheng (\text{過正}) means "to exceed the proper limit."
The idiom suggests that if a craftsman tries to straighten a bent piece of wood with too much force, the wood, while straight, may crack or snap at the stress point, leading to greater damage than the original curve. During the Han Dynasty, some officials, in their zeal to restore moral order after a period of chaos, went to such extremes in enforcing rigid etiquette that their behavior became artificial and counter-productive.
Meaning: To describe correcting a mistake or defect by going too far in the opposite direction, thus creating a new, possibly worse, problem.
27. 撲朔迷離 (Pū Shuò Mí Lí) - Bounding and Squinting (The Indistinctness of the Hare)
Colloquial Equivalent: Confusing and complicated / The facts are obscured.
Background/Story: This comes from the famous anonymous poem The Ballad of Mulan (Mu Lan Shi), which tells the story of the woman who fought in the army for twelve years, unknown to her comrades.
After the war, Mulan returned home and changed back into women's clothes. When her war comrades came to visit, they were utterly stunned to find their former fearless general was a young woman. The poem describes the confusion with these lines:
"The male rabbit (\text{撲朔}) is prone to bounding and kicking; the female rabbit (\text{迷離}) has eyes that tend to squint." When two rabbits are running side-by-side, it's easy to tell their sex. But when they are running together, or when Mulan was in armor, the identity is obscured.
Meaning: To describe a situation, case, or problem that is extremely complex, confusing, and difficult to figure out, where the truth or reality is obscured and hard to distinguish.
28. 天花亂墜 (Tiān Huā Luàn Zhuì) - Heavenly Flowers Falling Randomly
Colloquial Equivalent: Hyperbole / Praising to the sky.
Background/Story: This idiom has Buddhist origins, found in texts like the Vimalakirti Sutra. The legend describes a Buddhist master, Monk Yunguang, who was giving a sermon on the profound, mystical essence of the Dharma.
The story says that his speech was so eloquent, vivid, and beautifully expressive that it moved the gods and spirits. As he spoke, the heavens responded by raining down a shower of beautiful, colorful flowers (\text{天花亂墜}) in the monastery.
Meaning: Originally, it described extremely exquisite, profound, and beautiful language. It is now most often used in a derogatory sense to describe someone who exaggerates greatly and speaks with flowery, dazzling, or hyperbolic language that is ultimately unrealistic or insincere (like a pitchman).
29. 不入虎穴,焉得虎子 (Bù Rù Hǔ Xué, Yān Dé Hǔ Zǐ) - If You Don't Enter the Tiger's Den, How Can You Catch the Cub?
Colloquial Equivalent: Nothing ventured, nothing gained.
Background/Story: This comes from the Book of Later Han (Hou Han Shu), featuring the famous diplomat and general Ban Chao (from the Throwing Away the Pen story). Ban Chao was sent to the Western Regions (Central Asia) as an envoy.
When he arrived in the Shanshan Kingdom, he discovered that a Hungarian (Xiongnu) envoy had also arrived and turned the King against the Han Dynasty. Ban Chao gathered his 36 men and declared the situation was desperate. He told them, "If we don't enter the tiger's den, how can we catch the cub? Our only path to success is to take the most audacious action!" That night, he led his men in a daring, stealth attack on the Xiongnu camp, burning their tents and killing the envoy. The King of Shanshan was so awed that he immediately returned his loyalty to the Han Dynasty.
Meaning: To emphasize that one must take risks, face danger, or go into a difficult situation to achieve a great reward or a difficult goal.
30. 一字千金 (Yī Zì Qiān Jīn) - One Character, a Thousand Pieces of Gold
Colloquial Equivalent: Priceless writing / Every word matters.
Background/Story: This comes from the Records of the Grand Historian (Shi Ji), featuring the powerful Qin Dynasty Prime Minister, Lü Buwei. Lü Buwei organized his 3,000 scholars to collectively write the monumental text, the Lüshi Chunqiu (Master Lü's Spring and Autumn Annals).
To demonstrate the book's perfection and authority, Lü Buwei had a copy hung up on the city gate of the capital, Xianyang. He posted a public notice: "Anyone who can add or subtract even a single character (\text{一字}) to make this book better will be rewarded with one thousand pieces of gold (\text{千金})." Crowds of scholars read the book, but none dared to suggest a change, conceding its perfection.
Meaning: To describe writing or a piece of calligraphy that is so exquisitely crafted or profound that every single word is considered priceless and impossible to change.
31. 驚弓之鳥 (Jīng Gōng zhī Niǎo) - A Bird Startled by the Mere Sound of a Bow
Colloquial Equivalent: Once bitten, twice shy / A nervous wreck.
Background/Story: This comes from the Strategies of the Warring States (Zhan Guo Ce), featuring the master archer Geng Ying of the Wei state. While hunting with the King of Wei, Geng Ying spotted a lonely, slow-flying goose high in the sky.
He told the King: "Your Majesty, I don't need an arrow. If I just draw my bow and make the string snap, this goose will fall." The King was skeptical. Geng Ying explained: "It flies weakly because it has old wounds; its cry is sorrowful because it is alone. It flies high because it fears the archer. It is a bird startled by the mere sound of the bow." He theorized that the goose was previously shot but escaped, making it terrified of the sound of the bow. Geng Ying snapped the bowstring, and the goose, terrified, flew so hard that its old wound burst open, and it plummeted to the ground.
Meaning: To describe a person who is so traumatized or frightened by a previous negative experience that they are extremely jumpy, fearful, or overly sensitive to the slightest hint of the same danger.
32. 鷸蚌相爭 (Yù Bàng Xiāng Zhēng) - The Snipe and the Clam Fight
Colloquial Equivalent: When two fight, a third benefits.
Background/Story: This is a political fable from the Strategies of the Warring States (Zhan Guo Ce). The state of Zhao was about to attack the state of Yan. The envoy from Yan, Su Dai, used this story to convince the King of Zhao to stop.
Su Dai told the King: "I saw a snipe (\text{鷸}) pecking at an open clam (\text{蚌}) on a riverbank. The clam snapped its shell shut and clamped the snipe's beak. The snipe said, 'If you stay closed today and tomorrow, I will have a dead clam.' The clam retorted, 'If I don't let go today or tomorrow, I will have a dead snipe.' Both refused to let go."
Su Dai concluded: "Just as they were fighting, a fisherman came along and took both of them! Now, Zhao and Yan are like the snipe and the clam. If you fight to exhaustion, the powerful state of Qin will be the fisherman, seizing both of you effortlessly!" The King of Zhao heeded the warning and abandoned the attack.
Meaning: To describe a situation where two parties are locked in a struggle or dispute, causing both to suffer losses, allowing a neutral third party to take advantage of their exhaustion.
33. 風聲鶴唳 (Fēng Shēng Hè Lì) - The Sound of the Wind and the Cry of the Crane
Colloquial Equivalent: Extreme panic / Every shadow is an enemy.
Background/Story: This comes from the History of Jin (Jin Shu), describing the massive Battle of Fei River (383 CE), where the smaller Eastern Jin army defeated the massive Former Qin army led by Fu Jian.
The massive Qin army, having suffered an initial defeat, began to retreat in disorder. As they fled, the soldiers were gripped by extreme panic. When they heard the sound of the wind (\text{風聲}) rustling through the grass, they thought it was the approaching Jin cavalry. When they heard the cry of a crane (\text{鶴唳}) flying overhead, they mistook it for a signal from the pursuing Jin army. Emperor Fu Jian himself, looking out from the city wall, saw the waving grass and mistook it for enemy troops (cao mu jie bing - every bush is a soldier). The entire army was routed by its own fear.
Meaning: To describe a state of extreme nervousness, fear, or panic, where a person mistakes every natural sound or movement for a sign of danger or the enemy's approach.
34. 杯弓蛇影 (Bēi Gōng Shé Yǐng) - The Reflection of the Bow in the Cup as a Snake
Colloquial Equivalent: Fearing a phantom menace / Self-induced fear.
Background/Story: This comes from the Feng Su Tong Yi (Comprehensive Meaning of Customs), featuring the official Le Guang in the Western Jin Dynasty. Le Guang invited a friend over for a drink. Soon after, the friend became seriously ill with severe anxiety.
When Le Guang asked what was wrong, the friend confessed: "When I drank at your house, I saw a small snake (\text{蛇}) in my wine cup (\text{杯}), but I drank it out of politeness. I've been convinced ever since that the snake is in my stomach." Le Guang was mystified.
He returned home and retraced the setting. He realized that a decorative bow (\text{弓}) hanging on the wall was casting its reflection (\text{影}) directly into the wine cup. The reflection of the curved bow looked exactly like a small snake! Le Guang invited his friend back, showed him the reflection, and explained the source of the "snake." The friend's fear vanished, and he immediately recovered from his illness.
Meaning: To describe being overly suspicious, having imaginary fears, or startling oneself because of an overly sensitive or paranoid state of mind.
35. 一字之師 (Yī Zì zhī Shī) - A Teacher of a Single Character
Colloquial Equivalent: A mentor of exquisite detail / Learning from the masters.
Background/Story: This concept is attributed to various scholars, most famously the Tang Dynasty poet Bai Juyi. Bai Juyi was a brilliant poet but was always open to criticism. He once wrote a couplet: "Silk, bamboo, pipes and strings ground (\text{地}), Song and dance heaven (\text{天})." He showed it to the accomplished Monk Jiao Ran for advice.
The monk suggested: "If you change the character 'ground' (\text{地}) to 'scene' (\text{景}) and 'heaven' (\text{天}) to 'wind' (\text{風}), the lines will be more vivid." Bai Juyi changed the lines to: "Silk, bamboo, pipes and strings scene, Song and dance wind." He realized the change made the lines flow much better and lifted the entire mood.
Bai Juyi was so grateful for this small but profound correction that he forever referred to the monk as his "Teacher of a Single Character."
Meaning: A respectful title given to anyone, regardless of status, who provides a tiny but brilliant correction or instruction that significantly improves one's work or understanding.
36. 畫地為牢 (Huà Dì Wéi Láo) - Drawing a Boundary as a Prison
Colloquial Equivalent: Self-imposed limits / A gilded cage.
Background/Story: This idiom comes from the Book of Han (Han Shu) and is rooted in ancient legal custom. In the legendary times of the Sage Emperors, society was so pure that when someone committed an offense, there was no need for a massive, fortified prison (\text{牢}).
Instead, an official would simply draw a circle or boundary on the ground (\text{畫地}) and declare it the person's confinement area—a temporary prison. The person, out of shame and respect for the law and the honor of the ruler, would willingly stay within that boundary and not dare to step outside.
Meaning: Originally, it praised people's virtue and respect for the law. Now, it mainly describes voluntarily restricting one's own activities, abilities, or scope of action, creating self-imposed limitations that prevent success or progress.
37. 毛遂自薦 (Máo Suì Zì Jiàn) - Mao Sui Recommends Himself
Colloquial Equivalent: To volunteer oneself / Putting yourself forward.
Background/Story: This comes from the Records of the Grand Historian (Shi Ji), set during the Warring States period. The Qin army was besieging the Zhao capital, Handan. Lord Pingyuan was sent to the Chu state to secure an alliance. He needed 20 talented retainers for the mission but could only select 19.
A retainer named Mao Sui stepped forward and recommended himself (\text{自薦}) for the final spot. Lord Pingyuan scoffed: "A true talent is like an awl in a sack; its sharp point should appear immediately. I've had you for three years, and I've never seen your 'point.' You are no good."
Mao Sui replied confidently: "If I had been in the sack long ago, the entire awl would have come through! I ask only to be put in the sack today!" Impressed by his boldness, Lord Pingyuan took him. When the negotiations stalled in Chu, Mao Sui strode forward, sword in hand, and with a powerful, compelling argument, forced the King of Chu to agree to the alliance.
Meaning: To proactively nominate or offer one's own services or abilities for a difficult task or position, showcasing confidence and initiative.
38. 多多益善 (Duō Duō Yì Shàn) - The More the Better
Colloquial Equivalent: No such thing as too much.
Background/Story: This comes from the Records of the Grand Historian (Shi Ji), featuring a conversation between the founding Emperor of the Han Dynasty, Liu Bang, and his brilliant general, Han Xin. Liu Bang was trying to gauge Han Xin's ambition.
Liu Bang asked him, "How many soldiers do you think I, Liu Bang, can command?" Han Xin replied, "Your Majesty can command about 100,000 troops." Liu Bang then asked, "And what about you?" Han Xin confidently replied, "For me, the more the better (\text{多多益善}). There is no such thing as too many!"
Liu Bang then laughed and asked, "If you are so good at commanding, why are you under my command?" Han Xin replied, "Your Majesty is good at commanding generals (like me), not soldiers. That is the difference."
Meaning: To state that a greater quantity is always desirable, implying that something is always welcome and cannot be overdone.
39. 嗟來之食 (Jiē Lái zhī Shí) - Food Offered with a 'Hey!'
Colloquial Equivalent: Food offered with contempt.
Background/Story: This comes from the Book of Rites (Li Ji), set during a time of great famine in the state of Qi. A wealthy man named Qian Ao prepared food and laid it out by the road to offer aid to the starving.
When a starving person walked past, Qian Ao shouted with a condescending, rude call: "Hey! (\text{嗟}) Come eat this food (\text{來之食}!)" The starving man, though near death, stopped. He fixed his eyes on Qian Ao and said, "I have only survived until now because I refused to accept food that was offered with such insults! I will not accept this 'Hey!' food." He refused the meal and continued on, eventually dying of starvation.
Meaning: To describe charity, aid, or help that is offered with great contempt, a condescending attitude, or a lack of respect, emphasizing the virtue of preserving one's dignity and refusing dishonorable treatment.
40. 鐵杵磨成針 (Tiě Chǔ Mó Chéng Zhēn) - Grinding an Iron Pestle into a Needle
Colloquial Equivalent: Patience and perseverance conquer all.
Background/Story: This is a famous anecdote about the great Tang Dynasty poet Li Bai. When he was young, Li Bai was a student who often felt frustrated and lacked the persistence to continue studying.
One day, he decided to give up and run away from school. As he walked along a stream, he saw an old woman sitting on a rock, diligently grinding a thick iron pestle (\text{鐵杵}) on a whetstone. Curious, he asked her what she was doing. She replied, "I am grinding this iron pestle into a sewing needle (\text{磨成針})."
Li Bai was astonished. "How can you turn such a thick piece of metal into a tiny needle?" The old woman calmly replied, "As long as you keep at it, one day it will be done. I just keep grinding without stopping." Li Bai was deeply inspired, realizing that the key to success in his studies was perseverance, not just raw talent. He immediately returned to his books.
Meaning: To describe the belief that with enough patience, persistence, and continuous effort, even the most difficult or impossible task can eventually be accomplished.
41. 一丘之貉 (Yī Qiū zhī Hé) - Raccoons from the Same Hill
Colloquial Equivalent: Birds of a feather / Cut from the same cloth.
Background/Story: This idiom comes from the Book of Han (Han Shu) and the philosopher Yang Xiong. The he is a type of wild dog or raccoon-like animal that often lives in groups, making its den in the same hill (\text{丘}) or mound of earth.
Yang Xiong used this as a metaphor to criticize some of the officials and literary figures of his time. He argued that those who pretended to be morally upright but were secretly corrupt or shallow were all the same in their essence. Despite any superficial differences in their outward appearance or behavior, they were all fundamentally the same low-quality character, like raccoons living in the same hill—a subtle jab that they were all cut from the same, poor cloth.
Meaning: To describe people of the same bad or low quality, implying that despite appearances, their fundamental nature is identical and undesirable. It is almost always used in a derogatory sense.
42. 庖丁解牛 (Páo Dīng Jiě Niú) - Chef Ding Cuts Up an Ox
Colloquial Equivalent: Mastery through intuitive understanding / Skill beyond mere technique.
Background/Story: This is a philosophical fable from the Zhuangzi text, used to illustrate the Daoist concept of "following the Way" (Dao). Chef Ding (\text{庖丁}) was a master butcher for King Wenhui of Wei. His technique was mesmerizing—smooth, graceful, and rhythmic.
The King asked how his skill could be so divine. Chef Ding explained: "What I follow is the Dao (the Way/Principle), not mere technique. When I first started, I saw a whole ox. After three years, I no longer see a whole ox."
He explained that he never used force but instead moved his cleaver through the natural gaps, crevices, and joints of the ox's skeleton. His knife, which was 19 years old, was as sharp as if newly ground because it had never touched a bone. The King was astounded.
Meaning: To describe a person who has mastered a skill to an intuitive, highly sophisticated level, able to handle a complex task effortlessly and perfectly because they thoroughly understand its underlying principles and structure.
43. 樂不思蜀 (Lè Bù Sī Shǔ) - So Happy He Forgot Shu
Colloquial Equivalent: Blissful oblivion / Too happy to care about duty.
Background/Story: This comes from the Records of the Three Kingdoms (Sanguo Zhi), featuring the last Emperor of Shu-Han, Liu Shan (nicknamed A Dou). After the state of Shu was conquered by the Wei state, Liu Shan was captured and moved to the capital, Luoyang. To humiliate him, the Wei ruler Sima Zhao treated him with great luxury, giving him the title "Duke of Peace and Joy."
One day, Sima Zhao hosted a banquet and purposefully played the music and dances of the former Shu kingdom. While all the former Shu officials present were moved to tears, Liu Shan just laughed and enjoyed the party. Sima Zhao asked him, "Does your heart ever long for the state of Shu?" Liu Shan replied, "I am happy here (\text{此間樂}); I do not miss Shu (\text{不思蜀})."
Sima Zhao saw that Liu Shan was a truly shallow and carefree person, concluding he was no threat, and thus stopped worrying about him.
Meaning: To describe being so captivated and comfortable in a new, often luxurious, environment that one completely forgets or abandons their former home, responsibilities, or obligations. It is often used to criticize a lack of ambition or loyalty.
44. 洛陽紙貴 (Luò Yáng Zhǐ Guì) - Paper is Expensive in Luoyang
Colloquial Equivalent: A huge literary hit / Selling like hotcakes.
Background/Story: This comes from the History of Jin (Jin Shu), featuring the Western Jin writer Zuo Si. Zuo Si spent ten years writing his magnum opus, The Three Capitals Rhapsody (San Du Fu), a highly detailed description of the capitals of the three states of Wei, Shu, and Wu.
When the work was completed, it was initially ignored because Zuo Si was not a famous man. However, after leading scholars read it and praised its perfection, the Rhapsody became an instant sensation in the capital, Luoyang. People were desperate to read and copy it. The demand for paper was so high that it caused the price of paper (\text{紙}) in Luoyang (\text{洛陽}) to soar (\text{貴}) as scribes depleted the entire local supply.
Meaning: To describe a piece of writing or a book that is an instant, overwhelming success, achieving enormous popularity and causing people to rush to buy or copy it.
45. 投鼠忌器 (Tóu Shǔ Jì Qì) - Throwing at a Rat, Fearing the Vessel
Colloquial Equivalent: Holding one's hand for fear of collateral damage.
Background/Story: This comes from the Book of Han (Han Shu), featuring the official Jia Yi advising Emperor Wen of Han. Jia Yi wanted the Emperor to punish his corrupt and powerful inner circle. The Emperor hesitated, knowing that punishing them would cause a great deal of trouble, potentially implicating the royal family or disrupting the court's stability.
Jia Yi used this metaphor: "Your Majesty, why do people see a rat (\text{鼠}) stealing food in the house, yet hesitate to throw (\text{投}) a stone at it?" The Emperor knew the answer: "Because the rat is often hiding near precious porcelain, jade, or other valuable vessels (\text{忌器})." If you try to kill the rat, you'll smash the expensive object.
Jia Yi explained that the corrupt officials were the rat, and the stability of the royal family was the precious vessel. The Emperor was reluctant to clean up the corruption for fear of the collateral damage to the court.
Meaning: To describe a reluctance to punish a wrongdoer or eliminate a problem because doing so would cause harm or damage to innocent people or valuable assets.
46. 如魚得水 (Rú Yú Dé Shuǐ) - Like a Fish Getting Water
Colloquial Equivalent: In one's element / A perfect fit.
Background/Story: This comes from the Records of the Three Kingdoms (Sanguo Zhi), featuring Liu Bei and Zhuge Liang. After meeting the brilliant strategist Zhuge Liang, Liu Bei was so impressed that he invited him to join his cause. Liu Bei listened to every word Zhuge Liang said, treating him with the utmost respect.
His sworn brothers, Guan Yu and Zhang Fei, were jealous, complaining that Liu Bei was giving too much attention to a young scholar. Liu Bei explained to them, "I have Kongming (Zhuge Liang's courtesy name), just as a fish gets water (\text{如魚得水}). I need him. You must not complain." From that point on, the brothers stopped complaining, and the relationship between Liu Bei and Zhuge Liang became the cornerstone of the Shu Han state.
Meaning: To describe someone who has found the most suitable environment for their talents or needs, or has found the perfect partner or assistant, allowing them to thrive and work joyfully and effectively.
47. 罄竹難書 (Qìng Zhú Nán Shū) - Even Exhausting All the Bamboo Cannot Record It
Colloquial Equivalent: Too numerous to count / Beyond measure.
Background/Story: This comes from the Old History of Tang (Jiu Tang Shu), during the fall of the Sui Dynasty. In ancient China, before paper was common, all texts were written on bamboo (\text{竹}) slips. The character Qing (\text{罄}) means "to exhaust" or "to use up completely."
The rebel leader Li Mi issued a proclamation against the tyrannical Emperor Yang of Sui, listing his crimes. The proclamation stated that the Emperor's evil deeds were so numerous and profound that if you used up all the bamboo in the world to make slips, you still could not record them all (\text{罄竹難書}).
Meaning: To describe the extreme number or extent of crimes, wrongdoings, or offenses, implying that the evil deeds are countless. This idiom is always used in a negative, condemnatory context.
48. 韋編三絕 (Wéi Biān Sān Jué) - The Leather Binding Breaks Three Times
Colloquial Equivalent: Studying till the binding breaks / Intense diligence.
Background/Story: This comes from the Records of the Grand Historian (Shi Ji), featuring the great philosopher Confucius. In ancient times, books were made of bamboo slips tied together with strong cords, usually made of tough animal hide or leather (\text{韋}).
Late in life, Confucius became deeply interested in the profound and complex Book of Changes (I Ching). He studied it with incredible focus and diligence. He read the book so many times and handled it so often that the leather cord used to bind the heavy bundle of bamboo slips together broke (\text{絕}) three separate times (\text{三}). Each time, he simply fixed the binding and continued his study.
Meaning: To describe a person who is extremely diligent, focused, and persistent in their studies, often reading a difficult text so many times that they become deeply familiar with it.
49. 尾生抱柱 (Wěi Shēng Bào Zhù) - Wei Sheng Clings to the Pillar
Colloquial Equivalent: Dogged adherence to an oath / Blind rigidity.
Background/Story: This tragic story is found in the Zhuangzi and other ancient texts, featuring a man named Wei Sheng, who was famous for his absolute adherence to promises. Wei Sheng was deeply in love and made a firm promise to meet his lover under the Lan Bridge (or by a bridge pillar, \text{抱柱}) at a specific time.
Wei Sheng arrived exactly on time, but the woman did not appear. Soon, a massive rainstorm began, and the river water started to rise rapidly, threatening to flood the area. Wei Sheng remembered his promise—he had sworn not to leave the spot. Despite the danger, he refused to move. He clung tightly to the pillar of the bridge as the water rose around him, fulfilling his promise to the letter, until he finally drowned.
Meaning: To describe someone who is so stubbornly and inflexibly faithful to a promise or principle that they lose sight of the greater reality or common sense, leading to a needless tragedy.
50. 黃粱一夢 (Huáng Liáng Yī Mèng) - A Dream of Yellow Millet
Colloquial Equivalent: A fleeting illusion / It was all a dream.
Background/Story: This comes from the Tang Dynasty tale, The Record of the Pillow (Zhen Zhong Ji), featuring the scholar Lu Sheng. Lu Sheng was a frustrated scholar who lamented his poor fortune to an old Daoist priest, Lü Weng, in an inn. The priest gave him a magic pillow, saying it would fulfill his wishes.
While the innkeeper was cooking a pot of yellow millet (\text{黃粱}) gruel, Lu Sheng rested his head on the pillow and fell asleep. In his dream, he passed the Imperial exams, became a high official, married a beautiful woman, had many sons, and lived a long, glorious life filled with power and luxury. He died peacefully in his sleep at 80.
He woke up with a gasp and realized he was still in the inn. The innkeeper's millet gruel had not even finished cooking! His decades of glory were merely a fleeting, short dream. Lu Sheng realized the hollowness of fame and fortune and went off to study the Dao.
Meaning: To describe the realization that fame, fortune, or a life of glory is ultimately short-lived, illusory, or vain—like a brief, wonderful dream that fades upon waking.