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Chengyu
Chengyu (traditional Chinese: 成語; simplified Chinese: 成语; pinyin: chéngyǔ; trans. "set phrase") are a type of traditional Chinese idiomatic expressions, most of which consist of four Chinese characters. Chengyu were widely used in Literary Chinese and are still common in written vernacular Chinese writing and in the spoken language today. According to the most stringent definition, there are about 5,000 chengyu in the Chinese language, though some dictionaries list over 20,000. Chengyu are considered the collected wisdom of the Chinese culture, and contain the experiences, moral concepts, and admonishments from previous generations of Chinese speakers. Chengyu still play an important role in Chinese conversation and education. Chengyu are one of four types of formulaic expressions (熟语; 熟語; shúyǔ), which also include collocations (惯用语; 慣用語; guànyòngyǔ), two-part allegorical sayings called xiehouyu, and proverbs (谚语; 諺語; yànyǔ).
While not the only idioms in Chinese, and not always four characters long, they are often referred to as Chinese idioms or four-character idioms.
Chengyu are mostly derived from ancient literature, including the pre-Qin classics, poetry from all periods of Chinese history, and late imperial vernacular novels and short stories. A small number were constructed in the 19th and early 20th centuries from Western source materials. Among the early classical literature, the lyrical imagery from the Classic of Poetry, and the detailed stories recorded in the Zuo Zhuan and the Records of the Grand Historian serve as particularly rich source materials for chengyu. Since the Shijing poems consist of four-character lines, some chengyu are direct quotes from the Classic of Poetry. For example, 萬夀無疆 'ten-thousand year lifespan without bound', a traditional expression to wish someone a long life that often appears on bowls and tableware, quotes the poem "Tian Bao" (天保, poem #166) in the Lesser Court Hymns section of the Classic of Poetry. More commonly, however, chengyu are created by succinctly paraphrasing or summarizing the original text, usually by selecting the most salient characters from the passage in question and inserting any necessary classical grammatical particles.
As such, chengyu are fossilized expressions that use the vocabulary and follow the syntactic rules of Literary Chinese. Consequently, they convey information more compactly than normal vernacular speech or writing. They may contain subject and predicate and act as an independent clause (or even twin two-character independent clauses in parallel), or they may play the role of any part of speech in a sentence, acting syntactically as an adjective, adverb, verb, or noun phrase. In both speech and writing, they serve to succinctly convey a complex or multifaceted situation, scene, or concept, and used fittingly and elegantly, they also mark a speaker or writer's erudition.
The meaning of a chengyu usually surpasses the sum of the meanings carried by the four characters, as chengyu are generally meant to convey the message or moral of the myth, story or historical event from which they were derived. Thus, even after translation into modern words and syntax, chengyu in isolation are often unintelligible without additional explanation. Since they often contain a classical allusion, known as a diǎngù (典故), elementary and secondary school students in greater China learn chengyu as part of the classical curriculum in order to study the context from which the chengyu was born.
Often the four characters reflect the moral behind the story rather than the story itself. For example, the phrase "破釜沉舟" (ⓘ, lit: "break the pots and sink the ships") is based on a historical account where the general Xiang Yu ordered his troops to destroy all cooking utensils and boats after crossing a river into the enemy's territory. He won the battle because of this "no-retreat" strategy. Thus, the idiom is used as a verb phrase with the meaning "to make an all-out effort to achieve success by the deliberate removal of recourse or backup." Similar phrases are known in the West, such as "Burning one's boats", "burning one's bridges", "Point of no return" or "Crossing the Rubicon".
Another example is 瓜田李下 (ⓘ 'melon field, beneath the plums'), whose meaning relates to the appearance of misconduct or impropriety. It is derived from an excerpt of a Han-era poem (樂府詩《君子行》, Yuèfǔ Shī "Jūnzǐ Xíng"). The poem includes the lines 'don't adjust your shoes in a melon field, and don't tidy your hat under the plum trees' (瓜田不納履，李下不整冠, ⓘ), admonishing the reader to avoid situations where, however innocent, he might be suspected of doing wrong. The idiom is impossible to understand without the background knowledge of the origin of the phrase.
Some idioms have had their literal meanings overtake their original ones. For example, 'wind from an empty cave' (空穴來風, kōng xué lái fēng), despite now being used to describe rumors without source, originally referred to rumors with actual, solid sources or reasons. Likewise, 'bare-faced facing the emperor' (素面朝天) is now used to describe beauty that does not require make-up, e.g., when entering court, while its original meaning was "to be confident in one's true look".
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Chengyu
Chengyu (traditional Chinese: 成語; simplified Chinese: 成语; pinyin: chéngyǔ; trans. "set phrase") are a type of traditional Chinese idiomatic expressions, most of which consist of four Chinese characters. Chengyu were widely used in Literary Chinese and are still common in written vernacular Chinese writing and in the spoken language today. According to the most stringent definition, there are about 5,000 chengyu in the Chinese language, though some dictionaries list over 20,000. Chengyu are considered the collected wisdom of the Chinese culture, and contain the experiences, moral concepts, and admonishments from previous generations of Chinese speakers. Chengyu still play an important role in Chinese conversation and education. Chengyu are one of four types of formulaic expressions (熟语; 熟語; shúyǔ), which also include collocations (惯用语; 慣用語; guànyòngyǔ), two-part allegorical sayings called xiehouyu, and proverbs (谚语; 諺語; yànyǔ).
While not the only idioms in Chinese, and not always four characters long, they are often referred to as Chinese idioms or four-character idioms.
Chengyu are mostly derived from ancient literature, including the pre-Qin classics, poetry from all periods of Chinese history, and late imperial vernacular novels and short stories. A small number were constructed in the 19th and early 20th centuries from Western source materials. Among the early classical literature, the lyrical imagery from the Classic of Poetry, and the detailed stories recorded in the Zuo Zhuan and the Records of the Grand Historian serve as particularly rich source materials for chengyu. Since the Shijing poems consist of four-character lines, some chengyu are direct quotes from the Classic of Poetry. For example, 萬夀無疆 'ten-thousand year lifespan without bound', a traditional expression to wish someone a long life that often appears on bowls and tableware, quotes the poem "Tian Bao" (天保, poem #166) in the Lesser Court Hymns section of the Classic of Poetry. More commonly, however, chengyu are created by succinctly paraphrasing or summarizing the original text, usually by selecting the most salient characters from the passage in question and inserting any necessary classical grammatical particles.
As such, chengyu are fossilized expressions that use the vocabulary and follow the syntactic rules of Literary Chinese. Consequently, they convey information more compactly than normal vernacular speech or writing. They may contain subject and predicate and act as an independent clause (or even twin two-character independent clauses in parallel), or they may play the role of any part of speech in a sentence, acting syntactically as an adjective, adverb, verb, or noun phrase. In both speech and writing, they serve to succinctly convey a complex or multifaceted situation, scene, or concept, and used fittingly and elegantly, they also mark a speaker or writer's erudition.
The meaning of a chengyu usually surpasses the sum of the meanings carried by the four characters, as chengyu are generally meant to convey the message or moral of the myth, story or historical event from which they were derived. Thus, even after translation into modern words and syntax, chengyu in isolation are often unintelligible without additional explanation. Since they often contain a classical allusion, known as a diǎngù (典故), elementary and secondary school students in greater China learn chengyu as part of the classical curriculum in order to study the context from which the chengyu was born.
Often the four characters reflect the moral behind the story rather than the story itself. For example, the phrase "破釜沉舟" (ⓘ, lit: "break the pots and sink the ships") is based on a historical account where the general Xiang Yu ordered his troops to destroy all cooking utensils and boats after crossing a river into the enemy's territory. He won the battle because of this "no-retreat" strategy. Thus, the idiom is used as a verb phrase with the meaning "to make an all-out effort to achieve success by the deliberate removal of recourse or backup." Similar phrases are known in the West, such as "Burning one's boats", "burning one's bridges", "Point of no return" or "Crossing the Rubicon".
Another example is 瓜田李下 (ⓘ 'melon field, beneath the plums'), whose meaning relates to the appearance of misconduct or impropriety. It is derived from an excerpt of a Han-era poem (樂府詩《君子行》, Yuèfǔ Shī "Jūnzǐ Xíng"). The poem includes the lines 'don't adjust your shoes in a melon field, and don't tidy your hat under the plum trees' (瓜田不納履，李下不整冠, ⓘ), admonishing the reader to avoid situations where, however innocent, he might be suspected of doing wrong. The idiom is impossible to understand without the background knowledge of the origin of the phrase.
Some idioms have had their literal meanings overtake their original ones. For example, 'wind from an empty cave' (空穴來風, kōng xué lái fēng), despite now being used to describe rumors without source, originally referred to rumors with actual, solid sources or reasons. Likewise, 'bare-faced facing the emperor' (素面朝天) is now used to describe beauty that does not require make-up, e.g., when entering court, while its original meaning was "to be confident in one's true look".
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