Romance of Three Kingdoms by Luo Guanzhong - Essay Example

Order 530954 Brotherhood, The Art of War and Religion as Central Themes in "Romance of Three Kingdoms" by Luo Guanzhong       The Romance of the Three Kingdoms clearly outlines the period of China during the Three Kingdoms dynasty which spanned the years 220-280. This turbulent era is characterized by political instability, divisions, treachery and bloodshed. The only constant is war; peace is elusive. The three kingdoms: the Wei kingdom led by Cao Wei, the Shu kingdom led by Shu Han, and the Wu kingdom headed by Dong Wu. War breaks out because of questions regarding the legitimacy of succession. As a consequence China subdivides into three major branches with Cao Cao reigning in the north, Sun Quan ruling in the south, and Liu Bei controlling the west sector of China. The Romance of Three Kingdoms by Luo Guanzhong is a classic historical novel dealing with the power struggles within the Han dynasty which inevitably precipitate its collapse. An intricately woven book integrating historical accurate events merged with creative fiction, this book centers on themes such as brotherhood, art of war and religion.       This novel also weaves in elements of Confucianism whose doctrines are based principally on The Mandate of Heaven. The Mandate of Heaven marks the transition from the Shang dynasty (1766-1122 BCE) to the Zhou dynasty (1122-256 BCE) violation of the macrocosmic concepts: through corruption, immortality, and misrule led to Shangs deposition from power by the Zhou Dynasty, Heaven reserved the right to interpose in the microcosm especially when discord threatens. Political corruption made the emperor, also called the son of heaven unfit to rule therefore, the Mandate of Heaven can be legally transferred to another who was better and morally qualified. The Mandate of Heaven encapsulates the main principles of principles of Confucianism : ren (benevolence), xiao (filial piety), and li(propriety and convention), which secured harmony and equilibrium with the macrocosms (nature and heaven) and the microcosm (mans affairs). It is through application of the principle of the Mandate of Heaven that the Han dynasty is overthrown. Zhang Jiao was the catalyst in the Yellow Turban Rebellion in 184 A.D. Jiao began the revolution to undermine and collapse the Han Dynasty due to social injustices experienced by citizens.       Daoism constitutes a large part of the novel since its ideals and teachings are practiced by the characters of The Romance of Three Kingdoms. Daoism is a pacific religion which stands for order and harmony with nature and with man. This concept is mirrored in the affirmation that that state of being "in accord with nature is (being) in accord with Dao." There exist compatibility, coexistence and harmony with opposite natures and this relation is called harmonious dualism. Zhuge Liang is an educated Taoist scholar who personifies some of the principles of Daoism. Dao which is "divine and everlasting" means "the way of nature and the cosmos" thus one sees the bond between the universe and man. Zhuge acts as an emissary, diplomat and successful martial strategist to Sun Quan.  Zhuge Liang, as a Daoist peacekeeper, pacifies several warlords in the South, at the same time, he spearheads the Shu Han forces on expeditions to strengthen the Han empire. He never dies on the battle field but succumbs to tubercolosis. Zhuge Liangs strategies always triumphs as he continually foils the plans of his adversaries.       The Romance of Three Kingdoms incorporates tenets from another Chinese classical text, The Art of War written by Sun Tzu, a notable Chinese general who explains the importance of the war to the state and gives pithy advice on martial techniques on how to maneuver ones army to secure victory. The Battle of Xiaoting, the Battle of Red Cliffs and the Battle of Wuzhang Plains are noteworthy collisions in the novel in which various arts of war are implemented. Lu Bu observes that "Cao Cao knows something of the art of war" (Guanzhong 90). In the Art of War, moral influence is a very integral factor in warfare as a battle can never be won without the respect and cooperation of citizens impelled by love of king, government and country. The prime tool to emerge victor in a war is that of deception and to do the opposite of what the enemy expects or supposes. Self knowledge and knowledge about ones combattant are indispensable in going against the odds. The art of war promotes using subtlety (hidden strength), flexibility and adaptation in military confrontations. As a military strategist and fervent Daoist, Zhuge Liang also masters some of the teachings of the art of war. This knowledge makes him an invaluable asset to the warring factions. The irony is that Zhuge Liang uses magic in warfare although, in the art of war a principle is the disbelief in omens, superstitions, or portents as they would demoralize the army and cause defeat.       In The Romance of Three Kingdoms, conquest is a core ideal which upholds belligerence and militancy. The aspects of being a soldier represented in the novel are those of valor and prowess as warriors. The brothers, Liu Bei, Guan Yu and Zhang Fei embody and epitomize brute force and follow the base instinct of conquest in the typical knight. The noble warrior lords sing about exploits feats and struggles. Raw pugnacity is a way of life and is lorded as one of the major realities of life. Engaging in battle is not simply for the expansion of territory and defeat of foes but also is the emperors golden opportunity to show his imperial pride and the subjects opportunity to attain honors. Indeed, the Han dynasty was riddled with internal and external conflict so that the battlefield becomes the prime stage in this epic where the action unfolds.        Since no centralized government administers order, the land and resources of China are up for grabs to the strongest and most powerful leader, thus ushering in an era of feudal warlords. The warlords are feudal warriors competing for resources, lands and political hegemony. Warlords would assemble their own personal armies, terrorize, plunder and subject other provinces to their authority. Tsao Tsao, Sun Quan and Liu Bei are three generals of separate kingdoms. Together they form and break alliances, plot each others deaths, and cherish plans to conquer and annex the others territory. In the novel, several embattled men such as Cao Cao, Yuan Shao, Gongsun Zan, Lü Bu, Yuan Shu and Zhang Xiu enter warfare to either build their own kingdom, usurp an enemys kingdom or consort with an ally, for example, Liu Bei conquers the Yi province while Lü Meng levels the Jing province.       Brotherhood is a principal theme in The Romance of the Three Kingdoms in which three intimate friends, Liu Bei, Guan Yu and Zhang Fei, call themselves brothers and remain faithful to one another. The brotherhood is established and sealed from the earliest chapter solely guided according to love and allegiance to one another. The brotherhood among Liu Bei, Guan Yu and Zhang Fei was born with the aim of unifying a fragmented Han dynasty. The fraternitys watchwords are unity and unswerving loyalty to one another. As if to reflect this tripartite union, several other examples of fraternal ties emerge in the novel: "Zhou Yu and Sun Ce...bound themselves in brotherhood" (Guanzhong 117). The repetition of fraternal allegiances underscores a key concept in Confucianism, xiao or filial piety. Honor is only equivalent to ones ability to stand true to the covenants of blood and friendship. As a matter of fact, the system of Chinese dynasties originates in and relies on lasting familial ties.       Treachery is also inherent in the concept of glorified warfare. Jealousies and passions rise in the characters who are embroiled in different political and amorous liaisons. In this scene, treacheries are revealed and the plot unravels, the entire scene erupts in the midst of the gaieties and festivities. Brothers, friends and allies turn against one another in several layers of machination and double dealing. Chinese society does not favor treachery, however the frequent occurrences of it shows it as an imminent fact of life. Like infidelity between a man and a woman, political treaties are contracted and breached. In The Romance of the Three Kingdoms, there is no fixed moral code for certain situations since the temperamental character of generals and rulers changes quickly and suddenly. Setting forth what is right and wrong is not the objective of Guanzhong.  Guanzhong, as both writer and historian, could not be more accurate for the text depicts the political conflict in the battle for power and the lust for conquest, without moralizing he demonstrates a decadent culture, concomitant with strife and lack of faith.       In The Romance of the Three Kingdoms, warfare is gendered masculine. Scarcely is there mention of the Chinese society accepting of female warriors or war goddesses. The entire historical account concentrates on the workings of men and their unquenchable desire to conquer and dominate as women are viewed as the weaker sex. Persistent striving for conquest leads to further divisions. The men believed that the key to unite the world is by warfare and subduing the Other. Men participate in war since it ultimately dons them with characteristics of virility, bravery and brutality. True men involved themselves in just wars fought for legitimate ends such as those battles during the Three Kingdom period.       In sum, brotherhood and treachery war against each other in The Romance of the Three Kingdoms where religion participates in war, providing legal sanction of warfare. This realist text portrays characters in their day facing daily struggles. Daoism and Confucianism form the foundation of principles by which several warriors are directed. The warrior kings remain irreconcilable until another army conquers the kingdom, effectively putting it in the hands of the emperor of the Jin dynasty.    Works Cited: China Culture: Han Dynasty .  Accessed 29 April 2011. National Museum of History: The Three Kingdoms .  Accessed 29 April 2011. The Art of War:       . Accessed 29 April 2011. Tien Ming: The Mandate of Heaven       . Accessed 29 April  2011.  Read More