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Peace negotiations at the Congress of Paris resulted in the signing of the Treaty of Paris on 30 March 1856. In compliance with article III, Russia restored to the Ottoman Empire the city and citadel of Kars in common with "all other parts of the Ottoman territory of which the Russian troop were in possession". Russia ceded some land in Bessarabia at the mouth of the Danube to Moldavia. By article IV The United Kingdom, France, Sardinia and Turkey restored to Russia "the towns and ports of Sevastopol, Balaklava, Kamish, Eupatoria, Kerch, Jenikale, Kinburn, as well as all other territories occupied by the allied troops". In conformity with article XI and XIII, the Tsar and the Sultan agreed not to establish any naval or military arsenal on the Black Sea coast. The Black Sea clauses weakened Russia, and it no longer posed a naval threat to the Ottomans. The principalities of Moldavia and Wallachia were nominally returned to the Ottoman Empire; in practice they became independent. The Great Powers pledged to respect the independence and territorial integrity of the Ottoman Empire.:432–33 |
The Treaty of Paris stood until 1871, when France was defeated by Prussia in the Franco-Prussian War of 1870–1871. While Prussia and several other German states united to form a powerful German Empire, the Emperor of the French, Napoleon III, was deposed to permit the formation of a Third French Republic. During his reign, Napoleon III, eager for the support of the United Kingdom, had opposed Russia over the Eastern Question. Russian interference in the Ottoman Empire, however, did not in any significant manner threaten the interests of France. Thus, France abandoned its opposition to Russia after the establishment of a republic. Encouraged by the decision of the French, and supported by the German minister Otto von Bismarck, Russia renounced the Black Sea clauses of the treaty agreed to in 1856. As the United Kingdom alone could not enforce the clauses, Russia once again established a fleet in the Black Sea. |
Although it was Russia that was punished by the Paris Treaty, in the long run it was Austria that lost the most from the Crimean War despite having barely taken part in it.:433 Having abandoned its alliance with Russia, Austria was diplomatically isolated following the war,:433 which contributed to its disastrous defeats in the 1859 Franco-Austrian War that resulted in the cession of Lombardy to the Kingdom of Sardinia, and later in the loss of the Habsburg rule of Tuscany and Modena, which meant the end of Austrian influence in Italy. Furthermore, Russia did not do anything to assist its former ally, Austria, in the 1866 Austro-Prussian War:433 with its loss of Venetia and more important than that, its influence in most German-speaking lands. The status of Austria as a great power, with the unifications of Germany and Italy was now severely questioned. It had to compromise with Hungary, the two countries shared the Danubian Empire and Austria slowly became a little more than a German satellite. With France now hostile to Germany, allied with Russia, and Russia competing with the newly renamed Austro-Hungarian Empire for an increased role in the Balkans at the expense of the Ottoman Empire, the foundations were in place for creating the diplomatic alliances that would lead to World War I. |
The Crimean War marked the ascendancy of France to the position of pre-eminent power on the Continent,:411 the continued decline of the Ottoman Empire, and the beginning of a decline for Tsarist Russia. As Fuller notes, "Russia had been beaten on the Crimean peninsula, and the military feared that it would inevitably be beaten again unless steps were taken to surmount its military weakness." The Crimean War marks the demise of the Concert of Europe, the balance of power that had dominated Europe since the Congress of Vienna in 1815, and which had included France, Russia, Austria and the United Kingdom. |
This view of 'diplomatic drift' as the cause of the war was first popularised by A. W, Kinglake, who portrayed the British as victims of newspaper sensationalism and duplicitous French and Ottoman diplomacy. More recently, the historians Andrew Lambert and Winfried Baumgart have argued that, first, Britain was following a geopolitical strategy in aiming to destroy a fledgling Russian Navy which might challenge the Royal Navy for control of the seas, and second that the war was a joint European response to a century of Russian expansion not just southwards but also into western Europe. |
Russia feared losing Russian America without compensation in some future conflict, especially to the British. While Alaska attracted little interest at the time, the population of nearby British Columbia started to increase rapidly a few years after hostilities ended. Therefore, the Russian emperor, Alexander II, decided to sell Alaska. In 1859 the Russians offered to sell the territory to the United States, hoping that its presence in the region would offset the plans of Russia's greatest regional rival, the United Kingdom. |
Notable documentation of the war was provided by William Howard Russell (writing for The Times newspaper) and the photographs of Roger Fenton.:306–309 News from war correspondents reached all nations involved in the war and kept the public citizenry of those nations better informed of the day-to-day events of the war than had been the case in any other war to that date. The British public was very well informed regarding the day-to-day realities of the war in the Crimea. After the French extended the telegraph to the coast of the Black Sea during the winter of 1854, the news reached London in two days. When the British laid an underwater cable to the Crimean peninsula in April 1855, news reached London in a few hours. The daily news reports energised public opinion, which brought down the Aberdeen government and carried Lord Palmerston into office as prime minister.:304–11 |
As the memory of the "Charge of the Light Brigade" demonstrates, the war became an iconic symbol of logistical, medical and tactical failures and mismanagement. Public opinion in the UK was outraged at the logistical and command failures of the war; the newspapers demanded drastic reforms, and parliamentary investigations demonstrated the multiple failures of the Army. However, the reform campaign was not well organized, and the traditional aristocratic leadership of the Army pulled itself together, and blocked all serious reforms. No one was punished. The outbreak of the Indian Revolution in 1857 shifted attention to the heroic defense of British interest by the army, and further talk of reform went nowhere. The demand for professionalization was, however, achieved by Florence Nightingale, who gained worldwide attention for pioneering and publicizing modern nursing while treating the wounded.:469–71 |
The Crimean War also saw the first tactical use of railways and other modern inventions, such as the electric telegraph, with the first "live" war reporting to The Times by William Howard Russell. Some credit Russell with prompting the resignation of the sitting British government through his reporting of the lacklustre condition of British forces deployed in Crimea. Additionally, the telegraph reduced the independence of British overseas possessions from their commanders in London due to such rapid communications. Newspaper readership informed public opinion in the United Kingdom and France as never before. It was the first European war to be photographed. |
Literature consists of written productions, often restricted to those deemed to have artistic or intellectual value. Its Latin root literatura/litteratura (derived itself from littera, letter or handwriting) was used to refer to all written accounts, but intertwined with the roman concept of cultura: learning or cultivation. Literature often uses language differently than ordinary language (see literariness). Literature can be classified according to whether it is fiction or non-fiction and whether it is poetry or prose; it can be further distinguished according to major forms such as the novel, short story or drama; and works are often categorised according to historical periods or their adherence to certain aesthetic features or expectations (genre). |
Definitions of literature have varied over time; it is a "culturally relative definition". In Western Europe prior to the eighteenth century, literature as a term indicated all books and writing. A more restricted sense of the term emerged during the Romantic period, in which it began to demarcate "imaginative" literature. Contemporary debates over what constitutes literature can be seen as returning to the older, more inclusive notion of what constitutes literature. Cultural studies, for instance, takes as its subject of analysis both popular and minority genres, in addition to canonical works. |
The value judgement definition of literature considers it to exclusively include writing that possesses high quality or distinction, forming part of the so-called belles-lettres ('fine writing') tradition. This is the definition used in the Encyclopædia Britannica Eleventh Edition (1910–11) when it classifies literature as "the best expression of the best thought reduced to writing." However, this has the result that there is no objective definition of what constitutes "literature"; anything can be literature, and anything which is universally regarded as literature has the potential to be excluded, since value-judgements can change over time. |
The formalist definition is that the history of "literature" foregrounds poetic effects; it is the "literariness" or "poeticity" of literature that distinguishes it from ordinary speech or other kinds of writing (e.g., journalism). Jim Meyer considers this a useful characteristic in explaining the use of the term to mean published material in a particular field (e.g., "scientific literature"), as such writing must use language according to particular standards. The problem with the formalist definition is that in order to say that literature deviates from ordinary uses of language, those uses must first be identified; this is difficult because "ordinary language" is an unstable category, differing according to social categories and across history. |
Poetry is a form of literary art which uses aesthetic and rhythmic qualities of language to evoke meanings in addition to, or in place of, prosaic ostensible meaning. Poetry has traditionally been distinguished from prose by its being set in verse;[a] prose is cast in sentences, poetry in lines; the syntax of prose is dictated by meaning, whereas that of poetry is held across metre or the visual aspects of the poem. Prior to the nineteenth century, poetry was commonly understood to be something set in metrical lines; accordingly, in 1658 a definition of poetry is "any kind of subject consisting of Rythm or Verses". Possibly as a result of Aristotle's influence (his Poetics), "poetry" before the nineteenth century was usually less a technical designation for verse than a normative category of fictive or rhetorical art. As a form it may pre-date literacy, with the earliest works being composed within and sustained by an oral tradition; hence it constitutes the earliest example of literature. |
Drama is literature intended for performance. The form is often combined with music and dance, as in opera and musical theatre. A play is a subset of this form, referring to the written dramatic work of a playwright that is intended for performance in a theatre; it comprises chiefly dialogue between characters, and usually aims at dramatic or theatrical performance rather than at reading. A closet drama, by contrast, refers to a play written to be read rather than to be performed; hence, it is intended that the meaning of such a work can be realized fully on the page. Nearly all drama took verse form until comparatively recently. |
Greek drama exemplifies the earliest form of drama of which we have substantial knowledge. Tragedy, as a dramatic genre, developed as a performance associated with religious and civic festivals, typically enacting or developing upon well-known historical or mythological themes. Tragedies generally presented very serious themes. With the advent of newer technologies, scripts written for non-stage media have been added to this form. War of the Worlds (radio) in 1938 saw the advent of literature written for radio broadcast, and many works of Drama have been adapted for film or television. Conversely, television, film, and radio literature have been adapted to printed or electronic media. |
“The roots of all our modern academic fields can be found within the pages of literature.” Literature in all its forms can be seen as written records, whether the literature itself be factual or fictional, it is still quite possible to decipher facts through things like characters’ actions and words or the authors’ style of writing and the intent behind the words. The plot is for more than just entertainment purposes; within it lies information about economics, psychology, science, religions, politics, cultures, and social depth. Studying and analyzing literature becomes very important in terms of learning about our history. Through the study of past literature we are able to learn about how society has evolved and about the societal norms during each of the different periods all throughout history. This can even help us to understand references made in more modern literature because authors often make references to Greek mythology and other old religious texts or historical moments. Not only is there literature written on each of the aforementioned topics themselves, and how they have evolved throughout history (like a book about the history of economics or a book about evolution and science, for example) but we can also learn about these things in fictional works. Authors often include historical moments in their works, like when Lord Byron talks about the Spanish and the French in ‘‘Childe Harold’s Pilgrimage: Canto I’’ and expresses his opinions through his character Childe Harold. Through literature we are able to continuously uncover new information about history. It is easy to see how all academic fields have roots in literature. Information became easier to pass down from generation to generation once we began to write it down. Eventually everything was written down, from things like home remedies and cures for illness, or how to build shelter to traditions and religious practices. From there people were able to study literature, improve on ideas, further our knowledge, and academic fields such as the medical field or trades could be started. In much the same way as the literature that we study today continue to be updated as we continue to evolve and learn more and more. |
As a more urban culture developed, academies provided a means of transmission for speculative and philosophical literature in early civilizations, resulting in the prevalence of literature in Ancient China, Ancient India, Persia and Ancient Greece and Rome. Many works of earlier periods, even in narrative form, had a covert moral or didactic purpose, such as the Sanskrit Panchatantra or the Metamorphoses of Ovid. Drama and satire also developed as urban culture provided a larger public audience, and later readership, for literary production. Lyric poetry (as opposed to epic poetry) was often the speciality of courts and aristocratic circles, particularly in East Asia where songs were collected by the Chinese aristocracy as poems, the most notable being the Shijing or Book of Songs. Over a long period, the poetry of popular pre-literate balladry and song interpenetrated and eventually influenced poetry in the literary medium. |
In ancient China, early literature was primarily focused on philosophy, historiography, military science, agriculture, and poetry. China, the origin of modern paper making and woodblock printing, produced one of the world's first print cultures. Much of Chinese literature originates with the Hundred Schools of Thought period that occurred during the Eastern Zhou Dynasty (769-269 BCE). The most important of these include the Classics of Confucianism, of Daoism, of Mohism, of Legalism, as well as works of military science (e.g. Sun Tzu's The Art of War) and Chinese history (e.g. Sima Qian's Records of the Grand Historian). Ancient Chinese literature had a heavy emphasis on historiography, with often very detailed court records. An exemplary piece of narrative history of ancient China was the Zuo Zhuan, which was compiled no later than 389 BCE, and attributed to the blind 5th century BCE historian Zuo Qiuming. |
In ancient India, literature originated from stories that were originally orally transmitted. Early genres included drama, fables, sutras and epic poetry. Sanskrit literature begins with the Vedas, dating back to 1500–1000 BCE, and continues with the Sanskrit Epics of Iron Age India. The Vedas are among the oldest sacred texts. The Samhitas (vedic collections) date to roughly 1500–1000 BCE, and the "circum-Vedic" texts, as well as the redaction of the Samhitas, date to c. 1000-500 BCE, resulting in a Vedic period, spanning the mid 2nd to mid 1st millennium BCE, or the Late Bronze Age and the Iron Age. The period between approximately the 6th to 1st centuries BC saw the composition and redaction of the two most influential Indian epics, the Mahabharata and the Ramayana, with subsequent redaction progressing down to the 4th century AD. |
In ancient Greece, the epics of Homer, who wrote the Iliad and the Odyssey, and Hesiod, who wrote Works and Days and Theogony, are some of the earliest, and most influential, of Ancient Greek literature. Classical Greek genres included philosophy, poetry, historiography, comedies and dramas. Plato and Aristotle authored philosophical texts that are the foundation of Western philosophy, Sappho and Pindar were influential lyric poets, and Herodotus and Thucydides were early Greek historians. Although drama was popular in Ancient Greece, of the hundreds of tragedies written and performed during the classical age, only a limited number of plays by three authors still exist: Aeschylus, Sophocles, and Euripides. The plays of Aristophanes provide the only real examples of a genre of comic drama known as Old Comedy, the earliest form of Greek Comedy, and are in fact used to define the genre. |
Roman histories and biographies anticipated the extensive mediaeval literature of lives of saints and miraculous chronicles, but the most characteristic form of the Middle Ages was the romance, an adventurous and sometimes magical narrative with strong popular appeal. Controversial, religious, political and instructional literature proliferated during the Renaissance as a result of the invention of printing, while the mediaeval romance developed into a more character-based and psychological form of narrative, the novel, of which early and important examples are the Chinese Monkey and the German Faust books. |
In the Age of Reason philosophical tracts and speculations on history and human nature integrated literature with social and political developments. The inevitable reaction was the explosion of Romanticism in the later 18th century which reclaimed the imaginative and fantastical bias of old romances and folk-literature and asserted the primacy of individual experience and emotion. But as the 19th-century went on, European fiction evolved towards realism and naturalism, the meticulous documentation of real life and social trends. Much of the output of naturalism was implicitly polemical, and influenced social and political change, but 20th century fiction and drama moved back towards the subjective, emphasising unconscious motivations and social and environmental pressures on the individual. Writers such as Proust, Eliot, Joyce, Kafka and Pirandello exemplify the trend of documenting internal rather than external realities. |
Genre fiction also showed it could question reality in its 20th century forms, in spite of its fixed formulas, through the enquiries of the skeptical detective and the alternative realities of science fiction. The separation of "mainstream" and "genre" forms (including journalism) continued to blur during the period up to our own times. William Burroughs, in his early works, and Hunter S. Thompson expanded documentary reporting into strong subjective statements after the second World War, and post-modern critics have disparaged the idea of objective realism in general. |
As advances and specialization have made new scientific research inaccessible to most audiences, the "literary" nature of science writing has become less pronounced over the last two centuries. Now, science appears mostly in journals. Scientific works of Aristotle, Copernicus, and Newton still exhibit great value, but since the science in them has largely become outdated, they no longer serve for scientific instruction. Yet, they remain too technical to sit well in most programmes of literary study. Outside of "history of science" programmes, students rarely read such works. |
Philosophy has become an increasingly academic discipline. More of its practitioners lament this situation than occurs with the sciences; nonetheless most new philosophical work appears in academic journals. Major philosophers through history—Plato, Aristotle, Socrates, Augustine, Descartes, Kierkegaard, Nietzsche—have become as canonical as any writers. Some recent philosophy works are argued to merit the title "literature", but much of it does not, and some areas, such as logic, have become extremely technical to a degree similar to that of mathematics. |
Literature allows readers to access intimate emotional aspects of a person’s character that would not be obvious otherwise. It benefits the psychological development and understanding of the reader. For example, it allows a person to access emotional states from which the person has distanced himself or herself. An entry written by D. Mitchell featured in ‘‘The English Journal’’ explains how the author utilized young adult literature in order to re-experience the emotional psychology she experienced as a child which she describes as a state of “wonder”. |
Hogan also explains that the temporal and emotional amount which a person devotes to understanding a character’s situation in literature allows literature to be considered “ecological[ly] valid in the study of emotion”. This can be understood in the sense that literature unites a large community by provoking universal emotions. It also allows readers to access cultural aspects that they are not exposed to thus provoking new emotional experiences. Authors choose literary device according to what psychological emotion he or she is attempting to describe, thus certain literary devices are more emotionally effective than others. |
Maslow’s ‘‘Third Force Psychology Theory’’ even allows literary analysts to critically understand how characters reflect the culture and the history in which they are contextualized. It also allows analysts to understand the author’s intended message and to understand the author’s psychology. The theory suggests that human beings possess a nature within them that demonstrates their true “self” and it suggests that the fulfillment of this nature is the reason for living. It also suggests that neurological development hinders actualizing the nature because a person becomes estranged from his or her true self. Therefore, literary devices reflect a characters’s and an author’s natural self. In his ‘‘Third Force Psychology and the Study of Literature’’, Paris argues “D.H Lawrence’s “pristine unconscious” is a metaphor for the real self”. Thus Literature is a reputable tool that allows readers to develop and apply critical reasoning to the nature of emotions. |
A significant portion of historical writing ranks as literature, particularly the genre known as creative nonfiction, as can a great deal of journalism, such as literary journalism. However, these areas have become extremely large, and often have a primarily utilitarian purpose: to record data or convey immediate information. As a result, the writing in these fields often lacks a literary quality, although it often(and in its better moments)has that quality. Major "literary" historians include Herodotus, Thucydides and Procopius, all of whom count as canonical literary figures. |
Law offers more ambiguity. Some writings of Plato and Aristotle, the law tables of Hammurabi of Babylon, or even the early parts of the Bible could be seen as legal literature. Roman civil law as codified in the Corpus Juris Civilis during the reign of Justinian I of the Byzantine Empire has a reputation as significant literature. The founding documents of many countries, including Constitutions and Law Codes, can count as literature; however, most legal writings rarely exhibit much literary merit, as they tend to be rather Written by Samuel Dean. |
A literary technique or literary device can be used by authors in order to enhance the written framework of a piece of literature, and produce specific effects. Literary techniques encompass a wide range of approaches to crafting a work: whether a work is narrated in first-person or from another perspective, whether to use a traditional linear narrative or a nonlinear narrative, or the choice of literary genre, are all examples of literary technique. They may indicate to a reader that there is a familiar structure and presentation to a work, such as a conventional murder-mystery novel; or, the author may choose to experiment with their technique to surprise the reader. |
Ibn Sina created an extensive corpus of works during what is commonly known as the Islamic Golden Age, in which the translations of Greco-Roman, Persian, and Indian texts were studied extensively. Greco-Roman (Mid- and Neo-Platonic, and Aristotelian) texts translated by the Kindi school were commented, redacted and developed substantially by Islamic intellectuals, who also built upon Persian and Indian mathematical systems, astronomy, algebra, trigonometry and medicine. The Samanid dynasty in the eastern part of Persia, Greater Khorasan and Central Asia as well as the Buyid dynasty in the western part of Persia and Iraq provided a thriving atmosphere for scholarly and cultural development. Under the Samanids, Bukhara rivaled Baghdad as a cultural capital of the Islamic world. |
The study of the Quran and the Hadith thrived in such a scholarly atmosphere. Philosophy, Fiqh and theology (kalaam) were further developed, most noticeably by Avicenna and his opponents. Al-Razi and Al-Farabi had provided methodology and knowledge in medicine and philosophy. Avicenna had access to the great libraries of Balkh, Khwarezm, Gorgan, Rey, Isfahan and Hamadan. Various texts (such as the 'Ahd with Bahmanyar) show that he debated philosophical points with the greatest scholars of the time. Aruzi Samarqandi describes how before Avicenna left Khwarezm he had met Al-Biruni (a famous scientist and astronomer), Abu Nasr Iraqi (a renowned mathematician), Abu Sahl Masihi (a respected philosopher) and Abu al-Khayr Khammar (a great physician). |
Avicenna was born c. 980 in Afšana, a village near Bukhara (in present-day Uzbekistan), the capital of the Samanids, a Persian dynasty in Central Asia and Greater Khorasan. His mother, named Setareh, was from Bukhara; his father, Abdullah, was a respected Ismaili scholar from Balkh, an important town of the Samanid Empire, in what is today Balkh Province, Afghanistan, although this is not universally agreed upon. His father worked in the government of Samanid in the village Kharmasain, a Sunni regional power. After five years, his younger brother, Mahmoud, was born. Avicenna first began to learn the Quran and literature in such a way that when he was ten years old he had essentially learned all of them. |
A number of theories have been proposed regarding Avicenna's madhab (school of thought within Islamic jurisprudence). Medieval historian Ẓahīr al-dīn al-Bayhaqī (d. 1169) considered Avicenna to be a follower of the Brethren of Purity. On the other hand, Dimitri Gutas along with Aisha Khan and Jules J. Janssens demonstrated that Avicenna was a Sunni Hanafi. However, the 14th cenutry Shia faqih Nurullah Shushtari according to Seyyed Hossein Nasr, maintained that he was most likely a Twelver Shia. Conversely, Sharaf Khorasani, citing a rejection of an invitation of the Sunni Governor Sultan Mahmoud Ghazanavi by Avicenna to his court, believes that Avicenna was an Ismaili. Similar disagreements exist on the background of Avicenna's family, whereas some writers considered them Sunni, some more recent writers contested that they were Shia. |
According to his autobiography, Avicenna had memorised the entire Quran by the age of 10. He learned Indian arithmetic from an Indian greengrocer,ءMahmoud Massahi and he began to learn more from a wandering scholar who gained a livelihood by curing the sick and teaching the young. He also studied Fiqh (Islamic jurisprudence) under the Sunni Hanafi scholar Ismail al-Zahid. Avicenna was taught some extent of philosophy books such as Introduction (Isagoge)'s Porphyry (philosopher), Euclid's Elements, Ptolemy's Almagest by an unpopular philosopher, Abu Abdullah Nateli, who claimed philosophizing. |
As a teenager, he was greatly troubled by the Metaphysics of Aristotle, which he could not understand until he read al-Farabi's commentary on the work. For the next year and a half, he studied philosophy, in which he encountered greater obstacles. In such moments of baffled inquiry, he would leave his books, perform the requisite ablutions, then go to the mosque, and continue in prayer till light broke on his difficulties. Deep into the night, he would continue his studies, and even in his dreams problems would pursue him and work out their solution. Forty times, it is said, he read through the Metaphysics of Aristotle, till the words were imprinted on his memory; but their meaning was hopelessly obscure, until one day they found illumination, from the little commentary by Farabi, which he bought at a bookstall for the small sum of three dirhams. So great was his joy at the discovery, made with the help of a work from which he had expected only mystery, that he hastened to return thanks to God, and bestowed alms upon the poor. |
He turned to medicine at 16, and not only learned medical theory, but also by gratuitous attendance of the sick had, according to his own account, discovered new methods of treatment. The teenager achieved full status as a qualified physician at age 18, and found that "Medicine is no hard and thorny science, like mathematics and metaphysics, so I soon made great progress; I became an excellent doctor and began to treat patients, using approved remedies." The youthful physician's fame spread quickly, and he treated many patients without asking for payment. |
Ibn Sina's first appointment was that of physician to the emir, Nuh II, who owed him his recovery from a dangerous illness (997). Ibn Sina's chief reward for this service was access to the royal library of the Samanids, well-known patrons of scholarship and scholars. When the library was destroyed by fire not long after, the enemies of Ibn Sina accused him of burning it, in order for ever to conceal the sources of his knowledge. Meanwhile, he assisted his father in his financial labors, but still found time to write some of his earliest works. |
When Ibn Sina was 22 years old, he lost his father. The Samanid dynasty came to its end in December 1004. Ibn Sina seems to have declined the offers of Mahmud of Ghazni, and proceeded westwards to Urgench in modern Turkmenistan, where the vizier, regarded as a friend of scholars, gave him a small monthly stipend. The pay was small, however, so Ibn Sina wandered from place to place through the districts of Nishapur and Merv to the borders of Khorasan, seeking an opening for his talents. Qabus, the generous ruler of Tabaristan, himself a poet and a scholar, with whom Ibn Sina had expected to find asylum, was on about that date (1012) starved to death by his troops who had revolted. Ibn Sina himself was at this time stricken by a severe illness. Finally, at Gorgan, near the Caspian Sea, Ibn Sina met with a friend, who bought a dwelling near his own house in which Ibn Sina lectured on logic and astronomy. Several of Ibn Sina's treatises were written for this patron; and the commencement of his Canon of Medicine also dates from his stay in Hyrcania. |
Ibn Sina subsequently settled at Rey, in the vicinity of modern Tehran, the home town of Rhazes; where Majd Addaula, a son of the last Buwayhid emir, was nominal ruler under the regency of his mother (Seyyedeh Khatun). About thirty of Ibn Sina's shorter works are said to have been composed in Rey. Constant feuds which raged between the regent and her second son, Shams al-Daula, however, compelled the scholar to quit the place. After a brief sojourn at Qazvin he passed southwards to Hamadãn where Shams al-Daula, another Buwayhid emir, had established himself. At first, Ibn Sina entered into the service of a high-born lady; but the emir, hearing of his arrival, called him in as medical attendant, and sent him back with presents to his dwelling. Ibn Sina was even raised to the office of vizier. The emir decreed that he should be banished from the country. Ibn Sina, however, remained hidden for forty days in sheikh Ahmed Fadhel's house, until a fresh attack of illness induced the emir to restore him to his post. Even during this perturbed time, Ibn Sina persevered with his studies and teaching. Every evening, extracts from his great works, the Canon and the Sanatio, were dictated and explained to his pupils. On the death of the emir, Ibn Sina ceased to be vizier and hid himself in the house of an apothecary, where, with intense assiduity, he continued the composition of his works. |
Meanwhile, he had written to Abu Ya'far, the prefect of the dynamic city of Isfahan, offering his services. The new emir of Hamadan, hearing of this correspondence and discovering where Ibn Sina was hiding, incarcerated him in a fortress. War meanwhile continued between the rulers of Isfahan and Hamadãn; in 1024 the former captured Hamadan and its towns, expelling the Tajik mercenaries. When the storm had passed, Ibn Sina returned with the emir to Hamadan, and carried on his literary labors. Later, however, accompanied by his brother, a favorite pupil, and two slaves, Ibn Sina escaped from the city in the dress of a Sufi ascetic. After a perilous journey, they reached Isfahan, receiving an honorable welcome from the prince. |
Ibn Sīnā wrote extensively on early Islamic philosophy, especially the subjects logic, ethics, and metaphysics, including treatises named Logic and Metaphysics. Most of his works were written in Arabic – then the language of science in the Middle East – and some in Persian. Of linguistic significance even to this day are a few books that he wrote in nearly pure Persian language (particularly the Danishnamah-yi 'Ala', Philosophy for Ala' ad-Dawla'). Ibn Sīnā's commentaries on Aristotle often criticized the philosopher,[citation needed] encouraging a lively debate in the spirit of ijtihad. |
His Book of Healing became available in Europe in partial Latin translation some fifty years after its composition, under the title Sufficientia, and some authors have identified a "Latin Avicennism" as flourishing for some time, paralleling the more influential Latin Averroism, but suppressed by the Parisian decrees of 1210 and 1215. Avicenna's psychology and theory of knowledge influenced William of Auvergne, Bishop of Paris and Albertus Magnus, while his metaphysics had an impact on the thought of Thomas Aquinas. |
Early Islamic philosophy and Islamic metaphysics, imbued as it is with Islamic theology, distinguishes more clearly than Aristotelianism between essence and existence. Whereas existence is the domain of the contingent and the accidental, essence endures within a being beyond the accidental. The philosophy of Ibn Sīnā, particularly that part relating to metaphysics, owes much to al-Farabi. The search for a definitive Islamic philosophy separate from Occasionalism can be seen in what is left of his work. |
Following al-Farabi's lead, Avicenna initiated a full-fledged inquiry into the question of being, in which he distinguished between essence (Mahiat) and existence (Wujud). He argued that the fact of existence can not be inferred from or accounted for by the essence of existing things, and that form and matter by themselves cannot interact and originate the movement of the universe or the progressive actualization of existing things. Existence must, therefore, be due to an agent-cause that necessitates, imparts, gives, or adds existence to an essence. To do so, the cause must be an existing thing and coexist with its effect. |
Avicenna's consideration of the essence-attributes question may be elucidated in terms of his ontological analysis of the modalities of being; namely impossibility, contingency, and necessity. Avicenna argued that the impossible being is that which cannot exist, while the contingent in itself (mumkin bi-dhatihi) has the potentiality to be or not to be without entailing a contradiction. When actualized, the contingent becomes a 'necessary existent due to what is other than itself' (wajib al-wujud bi-ghayrihi). Thus, contingency-in-itself is potential beingness that could eventually be actualized by an external cause other than itself. The metaphysical structures of necessity and contingency are different. Necessary being due to itself (wajib al-wujud bi-dhatihi) is true in itself, while the contingent being is 'false in itself' and 'true due to something else other than itself'. The necessary is the source of its own being without borrowed existence. It is what always exists. |
The Necessary exists 'due-to-Its-Self', and has no quiddity/essence (mahiyya) other than existence (wujud). Furthermore, It is 'One' (wahid ahad) since there cannot be more than one 'Necessary-Existent-due-to-Itself' without differentia (fasl) to distinguish them from each other. Yet, to require differentia entails that they exist 'due-to-themselves' as well as 'due to what is other than themselves'; and this is contradictory. However, if no differentia distinguishes them from each other, then there is no sense in which these 'Existents' are not one and the same. Avicenna adds that the 'Necessary-Existent-due-to-Itself' has no genus (jins), nor a definition (hadd), nor a counterpart (nadd), nor an opposite (did), and is detached (bari) from matter (madda), quality (kayf), quantity (kam), place (ayn), situation (wad), and time (waqt). |
Avicenna was a devout Muslim and sought to reconcile rational philosophy with Islamic theology. His aim was to prove the existence of God and His creation of the world scientifically and through reason and logic. Avicenna's views on Islamic theology (and philosophy) were enormously influential, forming part of the core of the curriculum at Islamic religious schools until the 19th century. Avicenna wrote a number of short treatises dealing with Islamic theology. These included treatises on the prophets (whom he viewed as "inspired philosophers"), and also on various scientific and philosophical interpretations of the Quran, such as how Quranic cosmology corresponds to his own philosophical system. In general these treatises linked his philosophical writings to Islamic religious ideas; for example, the body's afterlife. |
There are occasional brief hints and allusions in his longer works however that Avicenna considered philosophy as the only sensible way to distinguish real prophecy from illusion. He did not state this more clearly because of the political implications of such a theory, if prophecy could be questioned, and also because most of the time he was writing shorter works which concentrated on explaining his theories on philosophy and theology clearly, without digressing to consider epistemological matters which could only be properly considered by other philosophers. |
Later interpretations of Avicenna's philosophy split into three different schools; those (such as al-Tusi) who continued to apply his philosophy as a system to interpret later political events and scientific advances; those (such as al-Razi) who considered Avicenna's theological works in isolation from his wider philosophical concerns; and those (such as al-Ghazali) who selectively used parts of his philosophy to support their own attempts to gain greater spiritual insights through a variety of mystical means. It was the theological interpretation championed by those such as al-Razi which eventually came to predominate in the madrasahs. |
While he was imprisoned in the castle of Fardajan near Hamadhan, Avicenna wrote his famous "Floating Man" – literally falling man – thought experiment to demonstrate human self-awareness and the substantiality and immateriality of the soul. Avicenna believed his "Floating Man" thought experiment demonstrated that the soul is a substance, and claimed humans cannot doubt their own consciousness, even in a situation that prevents all sensory data input. The thought experiment told its readers to imagine themselves created all at once while suspended in the air, isolated from all sensations, which includes no sensory contact with even their own bodies. He argued that, in this scenario, one would still have self-consciousness. Because it is conceivable that a person, suspended in air while cut off from sense experience, would still be capable of determining his own existence, the thought experiment points to the conclusions that the soul is a perfection, independent of the body, and an immaterial substance. The conceivability of this "Floating Man" indicates that the soul is perceived intellectually, which entails the soul's separateness from the body. Avicenna referred to the living human intelligence, particularly the active intellect, which he believed to be the hypostasis by which God communicates truth to the human mind and imparts order and intelligibility to nature. Following is an English translation of the argument: |
However, Avicenna posited the brain as the place where reason interacts with sensation. Sensation prepares the soul to receive rational concepts from the universal Agent Intellect. The first knowledge of the flying person would be "I am," affirming his or her essence. That essence could not be the body, obviously, as the flying person has no sensation. Thus, the knowledge that "I am" is the core of a human being: the soul exists and is self-aware. Avicenna thus concluded that the idea of the self is not logically dependent on any physical thing, and that the soul should not be seen in relative terms, but as a primary given, a substance. The body is unnecessary; in relation to it, the soul is its perfection. In itself, the soul is an immaterial substance. |
In the Al-Burhan (On Demonstration) section of The Book of Healing, Avicenna discussed the philosophy of science and described an early scientific method of inquiry. He discusses Aristotle's Posterior Analytics and significantly diverged from it on several points. Avicenna discussed the issue of a proper methodology for scientific inquiry and the question of "How does one acquire the first principles of a science?" He asked how a scientist would arrive at "the initial axioms or hypotheses of a deductive science without inferring them from some more basic premises?" He explains that the ideal situation is when one grasps that a "relation holds between the terms, which would allow for absolute, universal certainty." Avicenna then adds two further methods for arriving at the first principles: the ancient Aristotelian method of induction (istiqra), and the method of examination and experimentation (tajriba). Avicenna criticized Aristotelian induction, arguing that "it does not lead to the absolute, universal, and certain premises that it purports to provide." In its place, he develops a "method of experimentation as a means for scientific inquiry." |
An early formal system of temporal logic was studied by Avicenna. Although he did not develop a real theory of temporal propositions, he did study the relationship between temporalis and the implication. Avicenna's work was further developed by Najm al-Dīn al-Qazwīnī al-Kātibī and became the dominant system of Islamic logic until modern times. Avicennian logic also influenced several early European logicians such as Albertus Magnus and William of Ockham. Avicenna endorsed the law of noncontradiction proposed by Aristotle, that a fact could not be both true and false at the same time and in the same sense of the terminology used. He stated, "Anyone who denies the law of noncontradiction should be beaten and burned until he admits that to be beaten is not the same as not to be beaten, and to be burned is not the same as not to be burned." |
Avicenna's legacy in classical psychology is primarily embodied in the Kitab al-nafs parts of his Kitab al-shifa (The Book of Healing) and Kitab al-najat (The Book of Deliverance). These were known in Latin under the title De Anima (treatises "on the soul").[dubious – discuss] Notably, Avicenna develops what is called the "flying man" argument in the Psychology of The Cure I.1.7 as defense of the argument that the soul is without quantitative extension, which has an affinity with Descartes's cogito argument (or what phenomenology designates as a form of an "epoche"). |
Avicenna's psychology requires that connection between the body and soul be strong enough to ensure the soul's individuation, but weak enough to allow for its immortality. Avicenna grounds his psychology on physiology, which means his account of the soul is one that deals almost entirely with the natural science of the body and its abilities of perception. Thus, the philosopher's connection between the soul and body is explained almost entirely by his understanding of perception; in this way, bodily perception interrelates with the immaterial human intellect. In sense perception, the perceiver senses the form of the object; first, by perceiving features of the object by our external senses. This sensory information is supplied to the internal senses, which merge all the pieces into a whole, unified conscious experience. This process of perception and abstraction is the nexus of the soul and body, for the material body may only perceive material objects, while the immaterial soul may only receive the immaterial, universal forms. The way the soul and body interact in the final abstraction of the universal from the concrete particular is the key to their relationship and interaction, which takes place in the physical body. |
Avicenna's astronomical writings had some influence on later writers, although in general his work could be considered less developed than Alhazen or Al-Biruni. One important feature of his writing is that he considers mathematical astronomy as a separate discipline to astrology. He criticized Aristotle's view of the stars receiving their light from the Sun, stating that the stars are self-luminous, and believed that the planets are also self-luminous. He claimed to have observed Venus as a spot on the Sun. This is possible, as there was a transit on May 24, 1032, but Avicenna did not give the date of his observation, and modern scholars have questioned whether he could have observed the transit from his location at that time; he may have mistaken a sunspot for Venus. He used his transit observation to help establish that Venus was, at least sometimes, below the Sun in Ptolemaic cosmology, i.e. the sphere of Venus comes before the sphere of the Sun when moving out from the Earth in the prevailing geocentric model. |
Liber Aboali Abincine de Anima in arte Alchemiae was the most influential, having influenced later medieval chemists and alchemists such as Vincent of Beauvais. However Anawati argues (following Ruska) that the de Anima is a fake by a Spanish author. Similarly the Declaratio is believed not to be actually by Avicenna. The third work (The Book of Minerals) is agreed to be Avicenna's writing, adapted from the Kitab al-Shifa (Book of the Remedy). Ibn Sina classified minerals into stones, fusible substances, sulfurs, and salts, building on the ideas of Aristotle and Jabir. The epistola de Re recta is somewhat less sceptical of alchemy; Anawati argues that it is by Avicenna, but written earlier in his career when he had not yet firmly decided that transmutation was impossible. |
George Sarton, the author of The History of Science, described Ibn Sīnā as "one of the greatest thinkers and medical scholars in history" and called him "the most famous scientist of Islam and one of the most famous of all races, places, and times." He was one of the Islamic world's leading writers in the field of medicine. Along with Rhazes, Abulcasis, Ibn al-Nafis, and al-Ibadi, Ibn Sīnā is considered an important compiler of early Muslim medicine. He is remembered in the Western history of medicine as a major historical figure who made important contributions to medicine and the European Renaissance. His medical texts were unusual in that where controversy existed between Galen and Aristotle's views on medical matters (such as anatomy), he preferred to side with Aristotle, where necessary updating Aristotle's position to take into account post-Aristotelian advances in anatomical knowledge. Aristotle's dominant intellectual influence among medieval European scholars meant that Avicenna's linking of Galen's medical writings with Aristotle's philosophical writings in the Canon of Medicine (along with its comprehensive and logical organisation of knowledge) significantly increased Avicenna's importance in medieval Europe in comparison to other Islamic writers on medicine. His influence following translation of the Canon was such that from the early fourteenth to the mid-sixteenth centuries he was ranked with Hippocrates and Galen as one of the acknowledged authorities, princeps medicorum ("prince of physicians"). |
In modern Iran, he is considered a national icon, and is often regarded as one of the greatest Persians to have ever lived. A monument was erected outside the Bukhara museum[year needed]. The Avicenna Mausoleum and Museum in Hamadan was built in 1952. Bu-Ali Sina University in Hamadan (Iran), Avicenna Research Institute in Tehran (Iran), the ibn Sīnā Tajik State Medical University in Dushanbe, Ibn Sina Academy of Medieval Medicine and Sciences at Aligarh, India, Avicenna School in Karachi and Avicenna Medical College in Lahore, Pakistan Ibne Sina Balkh Medical School in his native province of Balkh in Afghanistan, Ibni Sina Faculty Of Medicine of Ankara University Ankara, Turkey and Ibn Sina Integrated School in Marawi City (Philippines) are all named in his honour. His portrait hangs in the Hall of the Avicenna Faculty of Medicine in the University of Paris. There is also a crater on the Moon named Avicenna and a plant genus Avicennia. |
In 1980, the Soviet Union, which then ruled his birthplace Bukhara, celebrated the thousandth anniversary of Avicenna's birth by circulating various commemorative stamps with artistic illustrations, and by erecting a bust of Avicenna based on anthropological research by Soviet scholars.[citation needed] Near his birthplace in Qishlak Afshona, some 25 km (16 mi) north of Bukhara, a training college for medical staff has been named for him.[year needed] On the grounds is a museum dedicated to his life, times and work.[citation needed] |
In March 2008, it was announced that Avicenna's name would be used for new Directories of education institutions for health care professionals, worldwide. The Avicenna Directories will list universities and schools where doctors, public health practitioners, pharmacists and others, are educated. The project team stated "Why Avicenna? Avicenna ... was ... noted for his synthesis of knowledge from both east and west. He has had a lasting influence on the development of medicine and health sciences. The use of Avicenna's name symbolises the worldwide partnership that is needed for the promotion of health services of high quality." |
The soviet film "Youth of Genius" (1982), filmed and studios Uzbekfilm and Tajikfilm, dedicated to children and youth years Avicenna. The film's director Elyor Ishmuhamedov. Romantic and stormy, performed works, danger and irresistible thirst of knowledge was the youth of Al-Husayn ibn Abdallah ibn al-Hasan ibn Ali ibn Sina, which will be known around the world under the name of Avicenna – a great physician, scientist and educator X-XI centuries. The film is set in the ancient city of Bukhara at the turn of the millennium. In Louis L'Amour's 1985 historical novel The Walking Drum, Kerbouchard studies and discusses Avicenna's The Canon of Medicine. In his book The Physician (1988) Noah Gordon tells the story of a young English medical apprentice who disguises himself as a Jew to travel from England to Persia and learn from Avicenna, the great master of his time. The novel was adapted into a feature film, The Physician, in 2013. Avicenna was played by Ben Kingsley. |
Ibn Sīnā wrote at least one treatise on alchemy, but several others have been falsely attributed to him. His Logic, Metaphysics, Physics, and De Caelo, are treatises giving a synoptic view of Aristotelian doctrine, though Metaphysics demonstrates a significant departure from the brand of Neoplatonism known as Aristotelianism in Ibn Sīnā's world; Arabic philosophers[who?][year needed] have hinted at the idea that Ibn Sīnā was attempting to "re-Aristotelianise" Muslim philosophy in its entirety, unlike his predecessors, who accepted the conflation of Platonic, Aristotelian, Neo- and Middle-Platonic works transmitted into the Muslim world. |
The Logic and Metaphysics have been extensively reprinted, the latter, e.g., at Venice in 1493, 1495, and 1546. Some of his shorter essays on medicine, logic, etc., take a poetical form (the poem on logic was published by Schmoelders in 1836).[citation needed] Two encyclopaedic treatises, dealing with philosophy, are often mentioned. The larger, Al-Shifa' (Sanatio), exists nearly complete in manuscript in the Bodleian Library and elsewhere; part of it on the De Anima appeared at Pavia (1490) as the Liber Sextus Naturalium, and the long account of Ibn Sina's philosophy given by Muhammad al-Shahrastani seems to be mainly an analysis, and in many places a reproduction, of the Al-Shifa'. A shorter form of the work is known as the An-najat (Liberatio). The Latin editions of part of these works have been modified by the corrections which the monastic editors confess that they applied. There is also a حكمت مشرقيه (hikmat-al-mashriqqiyya, in Latin Philosophia Orientalis), mentioned by Roger Bacon, the majority of which is lost in antiquity, which according to Averroes was pantheistic in tone. |
Chinese characters are logograms used in the writing of Chinese and some other Asian languages. In Standard Chinese they are called Hanzi (simplified Chinese: 汉字; traditional Chinese: 漢字). They have been adapted to write a number of other languages including: Japanese, where they are known as kanji, Korean, where they are known as hanja, and Vietnamese in a system known as chữ Nôm. Collectively, they are known as CJKV characters. In English, they are sometimes called Han characters. Chinese characters constitute the oldest continuously used system of writing in the world. By virtue of their widespread current use in East Asia, and historic use throughout the Sinosphere, Chinese characters are among the most widely adopted writing systems in the world. |
Chinese characters number in the tens of thousands, though most of them are minor graphic variants encountered only in historical texts. Studies in China have shown that functional literacy in written Chinese requires a knowledge of between three and four thousand characters. In Japan, 2,136 are taught through secondary school (the Jōyō kanji); hundreds more are in everyday use. There are various national standard lists of characters, forms, and pronunciations. Simplified forms of certain characters are used in China, Singapore, and Malaysia; the corresponding traditional characters are used in Taiwan, Hong Kong, Macau, and to a limited extent in South Korea. In Japan, common characters are written in post-WWII Japan-specific simplified forms (shinjitai), which are closer to traditional forms than Chinese simplifications, while uncommon characters are written in Japanese traditional forms (kyūjitai), which are virtually identical to Chinese traditional forms. In South Korea, when Chinese characters are used they are of the traditional variant and are almost identical to those used in places like Taiwan and Hong Kong. Teaching of Chinese characters in South Korea starts in the 7th grade and continues until the 12th grade where 1,800 total characters are taught albeit these characters are only used in certain cases (on signs, academic papers, historical writings, etc.) and are slowly declining in use. |
Most modern Chinese dictionaries and Chinese dictionaries sold to English speakers use the traditional radical-based character index in a section at the front, while the main body of the dictionary arranges the main character entries alphabetically according to their pinyin spelling. To find a character with unknown sound using one of these dictionaries, the reader finds the radical and stroke number of the character, as before, and locates the character in the radical index. The character's entry will have the character's pronunciation in pinyin written down; the reader then turns to the main dictionary section and looks up the pinyin spelling alphabetically. |
In Old Chinese, (e.g. Classical Chinese) most words were monosyllabic and there was a close correspondence between characters and words. In modern Chinese (esp. Mandarin Chinese), characters do not necessarily correspond to words; indeed the majority of Chinese words today consist of two or more characters due to the merging and loss of sounds in the Chinese language over time. Rather, a character almost always corresponds to a single syllable that is also a morpheme. However, there are a few exceptions to this general correspondence, including bisyllabic morphemes (written with two characters), bimorphemic syllables (written with two characters) and cases where a single character represents a polysyllabic word or phrase. |
Modern Chinese has many homophones; thus the same spoken syllable may be represented by many characters, depending on meaning. A single character may also have a range of meanings, or sometimes quite distinct meanings; occasionally these correspond to different pronunciations. Cognates in the several varieties of Chinese are generally written with the same character. They typically have similar meanings, but often quite different pronunciations. In other languages, most significantly today in Japanese and sometimes in Korean, characters are used to represent Chinese loanwords, to represent native words independent of the Chinese pronunciation, and as purely phonetic elements based on their pronunciation in the historical variety of Chinese from which they were acquired. These foreign adaptations of Chinese pronunciation are known as Sino-Xenic pronunciations, and have been useful in the reconstruction of Middle Chinese. |
Chinese characters represent words of the language using several strategies. A few characters, including some of the most commonly used, were originally pictograms, which depicted the objects denoted, or simple ideograms, in which meaning was expressed iconically. Some other words were expressed by compound ideograms, but the vast majority were written using the rebus principle, in which a character for a similarly sounding word was either simply borrowed or (more commonly) extended with a disambiguating semantic marker to form a phono-semantic compound character. |
Semantic-phonetic compounds or pictophonetic compounds are by far the most numerous characters. These characters are composed of two parts: one of a limited set of characters (the semantic indicator, often graphically simplified) which suggests the general meaning of the compound character, and another character (the phonetic indicator) whose pronunciation suggests the pronunciation of the compound character. In most cases the semantic indicator is also the radical under which the character is listed in dictionaries. |
Examples are 河 hé "river", 湖 hú "lake", 流 liú "stream", 沖 chōng "riptide" (or "flush"), 滑 huá "slippery". All these characters have on the left a radical of three short strokes (氵), which is a reduced form of the character 水 shuǐ meaning "water", indicating that the character has a semantic connection with water. The right-hand side in each case is a phonetic indicator. For example, in the case of 沖 chōng (Old Chinese *ɡ-ljuŋ), the phonetic indicator is 中 zhōng (Old Chinese *k-ljuŋ), which by itself means "middle". In this case it can be seen that the pronunciation of the character is slightly different from that of its phonetic indicator; the process of historical phonetic change means that the composition of such characters can sometimes seem arbitrary today. |
Occasionally a bisyllabic word is written with two characters that contain the same radical, as in 蝴蝶 húdié "butterfly", where both characters have the insect radical 虫. A notable example is pipa (a Chinese lute, also a fruit, the loquat, of similar shape) – originally written as 批把 with the hand radical, referring to the down and up strokes when playing this instrument, which was then changed to 枇杷 (tree radical), which is still used for the fruit, while the character was changed to 琵琶 when referring to the instrument. In other cases a compound word may coincidentally share a radical without this being meaningful. |
In recent decades, a series of inscribed graphs and pictures have been found at Neolithic sites in China, including Jiahu (c. 6500 BC), Dadiwan and Damaidi from the 6th millennium BC, and Banpo (5th millennium BC). Often these finds are accompanied by media reports that push back the purported beginnings of Chinese writing by thousands of years. However, because these marks occur singly, without any implied context, and are made crudely and simply, Qiu Xigui concluded that "we do not have any basis for stating that these constituted writing nor is there reason to conclude that they were ancestral to Shang dynasty Chinese characters." They do however demonstrate a history of sign use in the Yellow River valley during the Neolithic through to the Shang period. |
The earliest confirmed evidence of the Chinese script yet discovered is the body of inscriptions on oracle bones from the late Shang dynasty (c. 1200–1050 BC). These symbols, carved on pieces of bone and turtle shell being sold as "dragon bones" for medicinal purposes, were identified as Chinese writing by scholars in 1899. By 1928, the source of the oracle bones had been traced to a village near Anyang in Henan Province, which was excavated by the Academia Sinica between 1928 and 1937. Over 150,000 fragments have been found. |
The traditional picture of an orderly series of scripts, each one invented suddenly and then completely displacing the previous one, has been conclusively demonstrated to be fiction by the archaeological finds and scholarly research of the later 20th and early 21st centuries. Gradual evolution and the coexistence of two or more scripts was more often the case. As early as the Shang dynasty, oracle-bone script coexisted as a simplified form alongside the normal script of bamboo books (preserved in typical bronze inscriptions), as well as the extra-elaborate pictorial forms (often clan emblems) found on many bronzes. |
Based on studies of these bronze inscriptions, it is clear that, from the Shang dynasty writing to that of the Western Zhou and early Eastern Zhou, the mainstream script evolved in a slow, unbroken fashion, until assuming the form that is now known as seal script in the late Eastern Zhou in the state of Qin, without any clear line of division. Meanwhile, other scripts had evolved, especially in the eastern and southern areas during the late Zhou dynasty, including regional forms, such as the gǔwén ("ancient forms") of the eastern Warring States preserved as variant forms in the Han dynasty character dictionary Shuowen Jiezi, as well as decorative forms such as bird and insect scripts. |
Seal script, which had evolved slowly in the state of Qin during the Eastern Zhou dynasty, became standardized and adopted as the formal script for all of China in the Qin dynasty (leading to a popular misconception that it was invented at that time), and was still widely used for decorative engraving and seals (name chops, or signets) in the Han dynasty period. However, despite the Qin script standardization, more than one script remained in use at the time. For example, a little-known, rectilinear and roughly executed kind of common (vulgar) writing had for centuries coexisted with the more formal seal script in the Qin state, and the popularity of this vulgar writing grew as the use of writing itself became more widespread. By the Warring States period, an immature form of clerical script called "early clerical" or "proto-clerical" had already developed in the state of Qin based upon this vulgar writing, and with influence from seal script as well. The coexistence of the three scripts – small seal, vulgar and proto-clerical, with the latter evolving gradually in the Qin to early Han dynasties into clerical script – runs counter to the traditional belief that the Qin dynasty had one script only, and that clerical script was suddenly invented in the early Han dynasty from the small seal script. |
Contrary to the popular belief of there being only one script per period, there were in fact multiple scripts in use during the Han period. Although mature clerical script, also called 八分 (bāfēn) script, was dominant at that time, an early type of cursive script was also in use by the Han by at least as early as 24 BC (during the very late Western Han period),[b] incorporating cursive forms popular at the time, well as many elements from the vulgar writing of the Warring State of Qin. By around the time of the Eastern Jin dynasty, this Han cursive became known as 章草 zhāngcǎo (also known as 隶草 / 隸草 lìcǎo today), or in English sometimes clerical cursive, ancient cursive, or draft cursive. Some believe that the name, based on 章 zhāng meaning "orderly", arose because the script was a more orderly form of cursive than the modern form, which emerged during the Eastern Jin dynasty and is still in use today, called 今草 jīncǎo or "modern cursive". |
By the late Eastern Han period, an early form of semi-cursive script appeared, developing out of a cursively written form of neo-clerical script[c] and simple cursive. This semi-cursive script was traditionally attributed to Liu Desheng c. 147–188 AD,[d] although such attributions refer to early masters of a script rather than to their actual inventors, since the scripts generally evolved into being over time. Qiu gives examples of early semi-cursive script, showing that it had popular origins rather than being purely Liu’s invention. |
Regular script has been attributed to Zhong Yao, of the Eastern Han to Cao Wei period (c. 151–230 AD), who has been called the "father of regular script". However, some scholars postulate that one person alone could not have developed a new script which was universally adopted, but could only have been a contributor to its gradual formation. The earliest surviving pieces written in regular script are copies of Yao's works, including at least one copied by Wang Xizhi. This new script, which is the dominant modern Chinese script, developed out of a neatly written form of early semi-cursive, with addition of the pause (頓/顿 dùn) technique to end horizontal strokes, plus heavy tails on strokes which are written to the downward-right diagonal. Thus, early regular script emerged from a neat, formal form of semi-cursive, which had itself emerged from neo-clerical (a simplified, convenient form of clerical script). It then matured further in the Eastern Jin dynasty in the hands of the "Sage of Calligraphy", Wang Xizhi, and his son Wang Xianzhi. It was not, however, in widespread use at that time, and most writers continued using neo-clerical, or a somewhat semi-cursive form of it, for daily writing, while the conservative bafen clerical script remained in use on some stelae, alongside some semi-cursive, but primarily neo-clerical. |
It was not until the Northern and Southern dynasties that regular script rose to dominant status. During that period, regular script continued evolving stylistically, reaching full maturity in the early Tang dynasty. Some call the writing of the early Tang calligrapher Ouyang Xun (557–641) the first mature regular script. After this point, although developments in the art of calligraphy and in character simplification still lay ahead, there were no more major stages of evolution for the mainstream script. |
For instance, to look up the character where the sound is not known, e.g., 松 (pine tree), the user first determines which part of the character is the radical (here 木), then counts the number of strokes in the radical (four), and turns to the radical index (usually located on the inside front or back cover of the dictionary). Under the number "4" for radical stroke count, the user locates 木, then turns to the page number listed, which is the start of the listing of all the characters containing this radical. This page will have a sub-index giving remainder stroke numbers (for the non-radical portions of characters) and page numbers. The right half of the character also contains four strokes, so the user locates the number 4, and turns to the page number given. From there, the user must scan the entries to locate the character he or she is seeking. Some dictionaries have a sub-index which lists every character containing each radical, and if the user knows the number of strokes in the non-radical portion of the character, he or she can locate the correct page directly. |
Chinese character dictionaries often allow users to locate entries in several ways. Many Chinese, Japanese, and Korean dictionaries of Chinese characters list characters in radical order: characters are grouped together by radical, and radicals containing fewer strokes come before radicals containing more strokes (radical-and-stroke sorting). Under each radical, characters are listed by their total number of strokes. It is often also possible to search for characters by sound, using pinyin (in Chinese dictionaries), zhuyin (in Taiwanese dictionaries), kana (in Japanese dictionaries) or hangul (in Korean dictionaries). Most dictionaries also allow searches by total number of strokes, and individual dictionaries often allow other search methods as well. |
While new characters can be easily coined by writing on paper, they are difficult to represent on a computer – they must generally be represented as a picture, rather than as text – which presents a significant barrier to their use or widespread adoption. Compare this with the use of symbols as names in 20th century musical albums such as Led Zeppelin IV (1971) and Love Symbol Album (1993); an album cover may potentially contain any graphics, but in writing and other computation these symbols are difficult to use. |
New characters can in principle be coined at any time, just as new words can be, but they may not be adopted. Significant historically recent coinages date to scientific terms of the 19th century. Specifically, Chinese coined new characters for chemical elements – see chemical elements in East Asian languages – which continue to be used and taught in schools in China and Taiwan. In Japan, in the Meiji era (specifically, late 19th century), new characters were coined for some (but not all) SI units, such as 粁 (米 "meter" + 千 "thousand, kilo-") for kilometer. These kokuji (Japanese-coinages) have found use in China as well – see Chinese characters for SI units for details. |
In addition, there are a number of dialect characters (方言字) that are not used in formal written Chinese but represent colloquial terms in non-Mandarin varieties of Chinese. One such variety is Written Cantonese, in widespread use in Hong Kong even for certain formal documents, due to the former British colonial administration's recognition of Cantonese for use for official purposes. In Taiwan, there is also an informal body of characters used to represent Hokkien Chinese. Many varieties have specific characters for words exclusive to them. For example, the vernacular character 㓾, pronounced cii11 in Hakka, means "to kill". Furthermore, Shanghainese and Sichuanese also have their own series of written text, but these are not widely used in actual texts, Mandarin being the preference for all mainland regions. |
In the Republic of China (Taiwan), which uses traditional Chinese characters, the Ministry of Education's Chángyòng Guózì Biāozhǔn Zìtǐ Biǎo (常用國字標準字體表, Chart of Standard Forms of Common National Characters) lists 4,808 characters; the Cì Chángyòng Guózì Biāozhǔn Zìtǐ Biǎo (次常用國字標準字體表, Chart of Standard Forms of Less-Than-Common National Characters) lists another 6,341 characters. The Chinese Standard Interchange Code (CNS11643)—the official national encoding standard—supports 48,027 characters, while the most widely used encoding scheme, BIG-5, supports only 13,053. |
In China, which uses simplified Chinese characters, the Xiàndài Hànyǔ Chángyòng Zìbiǎo (现代汉语常用字表, Chart of Common Characters of Modern Chinese) lists 2,500 common characters and 1,000 less-than-common characters, while the Xiàndài Hànyǔ Tōngyòng Zìbiǎo (现代汉语通用字表, Chart of Generally Utilized Characters of Modern Chinese) lists 7,000 characters, including the 3,500 characters already listed above. GB2312, an early version of the national encoding standard used in the People's Republic of China, has 6,763 code points. GB18030, the modern, mandatory standard, has a much higher number. The New Hànyǔ Shuǐpíng Kǎoshì (汉语水平考试, Chinese Proficiency Test) covers approximately 2,600 characters at its highest level (level six). |
Modified radicals and new variants are two common reasons for the ever-increasing number of characters. There are about 300 radicals and 100 are in common use. Creating a new character by modifying the radical is an easy way to disambiguate homographs among xíngshēngzì pictophonetic compounds. This practice began long before the standardization of Chinese script by Qin Shi Huang and continues to the present day. The traditional 3rd-person pronoun tā (他 "he, she, it"), which is written with the "person radical", illustrates modifying significs to form new characters. In modern usage, there is a graphic distinction between tā (她 "she") with the "woman radical", tā (牠 "it") with the "animal radical", tā (它 "it") with the "roof radical", and tā (祂 "He") with the "deity radical", One consequence of modifying radicals is the fossilization of rare and obscure variant logographs, some of which are not even used in Classical Chinese. For instance, he 和 "harmony, peace", which combines the "grain radical" with the "mouth radical", has infrequent variants 咊 with the radicals reversed and 龢 with the "flute radical". |
Even the Zhonghua Zihai does not include characters in the Chinese family of scripts created to represent non-Chinese languages. Characters formed by Chinese principles in other languages include the roughly 1,500 Japanese-made kokuji given in the Kokuji no Jiten, the Korean-made gukja, the over 10,000 Sawndip characters still in use in Guangxi, and the almost 20,000 Nôm characters formerly used in Vietnam.[citation needed] More divergent descendents of Chinese script include Tangut script, which created over 5,000 characters with similar strokes but different formation principles to Chinese characters. |
The total number of Chinese characters from past to present remains unknowable because new ones are developed all the time – for instance, brands may create new characters when none of the existing ones allow for the intended meaning. Chinese characters are theoretically an open set and anyone can create new characters, though such inventions are rarely included in official character sets. The number of entries in major Chinese dictionaries is the best means of estimating the historical growth of character inventory. |
One of the most complex characters found in modern Chinese dictionaries[g] is 齉 (U+9F49) (nàng, listen (help·info), pictured below, middle image), meaning "snuffle" (that is, a pronunciation marred by a blocked nose), with "just" thirty-six strokes. However, this is not in common use. The most complex character that can be input using the Microsoft New Phonetic IME 2002a for traditional Chinese is 龘 (dá, "the appearance of a dragon flying"). It is composed of the dragon radical represented three times, for a total of 16 × 3 = 48 strokes. Among the most complex characters in modern dictionaries and also in frequent modern use are 籲 (yù, "to implore"), with 32 strokes; 鬱 (yù, "luxuriant, lush; gloomy"), with 29 strokes, as in 憂鬱 (yōuyù, "depressed"); 豔 (yàn, "colorful"), with 28 strokes; and 釁 (xìn, "quarrel"), with 25 strokes, as in 挑釁 (tiǎoxìn, "to pick a fight"). Also in occasional modern use is 鱻 (xiān "fresh"; variant of 鮮 xiān) with 33 strokes. |
There are also some extremely complex characters which have understandably become rather rare. According to Joël Bellassen (1989), the most complex Chinese character is /𪚥 (U+2A6A5) zhé listen (help·info), meaning "verbose" and containing sixty-four strokes; this character fell from use around the 5th century. It might be argued, however, that while containing the most strokes, it is not necessarily the most complex character (in terms of difficulty), as it simply requires writing the same sixteen-stroke character 龍 lóng (lit. "dragon") four times in the space for one. Another 64-stroke character is /𠔻 (U+2053B) zhèng composed of 興 xīng/xìng (lit. "flourish") four times. |
One man who has encountered this problem is Taiwanese politician Yu Shyi-kun, due to the rarity of the last character in his name. Newspapers have dealt with this problem in varying ways, including using software to combine two existing, similar characters, including a picture of the personality, or, especially as is the case with Yu Shyi-kun, simply substituting a homophone for the rare character in the hope that the reader would be able to make the correct inference. Taiwanese political posters, movie posters etc. will often add the bopomofo phonetic symbols next to such a character. Japanese newspapers may render such names and words in katakana instead of kanji, and it is accepted practice for people to write names for which they are unsure of the correct kanji in katakana instead. |
The use of such contractions is as old as Chinese characters themselves, and they have frequently been found in religious or ritual use. In the Oracle Bone script, personal names, ritual items, and even phrases such as 受又(祐) shòu yòu "receive blessings" are commonly contracted into single characters. A dramatic example is that in medieval manuscripts 菩薩 púsà "bodhisattva" (simplified: 菩萨) is sometimes written with a single character formed of a 2×2 grid of four 十 (derived from the grass radical over two 十). However, for the sake of consistency and standardization, the CPC seeks to limit the use of such polysyllabic characters in public writing to ensure that every character only has one syllable. |
Modern examples particularly include Chinese characters for SI units. In Chinese these units are disyllabic and standardly written with two characters, as 厘米 límǐ "centimeter" (厘 centi-, 米 meter) or 千瓦 qiānwǎ "kilowatt". However, in the 19th century these were often written via compound characters, pronounced disyllabically, such as 瓩 for 千瓦 or 糎 for 厘米 – some of these characters were also used in Japan, where they were pronounced with borrowed European readings instead. These have now fallen out of general use, but are occasionally seen. Less systematic examples include 圕 túshūguǎn "library", a contraction of 圖書館, A four-morpheme word, 社会主义 shèhuì zhǔyì "socialism", is commonly written with a single character formed by combining the last character, 义, with the radical of the first, 社, yielding roughly 礻义. |
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