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#BringThatAcai (Directed by IDIOTS & CORTIS)
Mario Abela (Maltese, 1983) - The Annunciation of Collapse (2024-2025)
She'd laughed, and if he could have bottled the sound and gotten drunk on it every night, he would have. It terrified him.
The first of 4 endpapers I got to illustrate for Illumicrate’s special edition of Six of Crows!! So happy I finally got to draw this scene!!
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The titles HanGuang Jun 含光君 and YiLing LaoZu / YiLing Patriarch 夷陵老祖 are given to Lan Zhan and Wei Ying by their fellow cultivators and plebs as a sign of respect (and fear, in the latter’s case). I want to talk about the connotations, considering the translations I’ve seen so far.
The YiLing Patriarch is quite straight forward. The word “Patriarch” here doesn’t have anything to do with patriarchy, since the original Chinese words LaoZu 老祖 is a unisex term. The characters separately mean “old” and “ancestor” but the combined term is typically used in reference to the founder of a religious sect.
YiLing is simply a place name, literally the Yi Hill. However, it sounds a lot more sinister and ghastly in the original language because of the connotations. The character Yi is historically used to refer to barbarous and uncivilized regions to the east of ancient China, while the character Ling refers to hills and mounds of dirt that are often associated with mausoleums. Yeah, it sounds worse than it looks in the show.
This title is about Wei Ying’s place of origin where a grandmaster established himself (people are starting to forget he was from YunMeng originally because they’re so fearful of him) and his unorthodox powers (he’s the first one to successfully harness the dark arts). The reverence is inseparable from abhorrence.
On the other hand, HanGuang Jun is a title that praises Lan Zhan’s integrity. Jun 君 is a character (literally “lord”) with multiple meanings, but here it is attached to the end of a name to show respect. The characters HanGuang 含光 separately and literally mean “holds/envelops light”, and in the novel it is taken from a widely circulated legend about several of the main characters, which specifically goes like this about Lan Zhan:
景行含光藍忘機 JingHang HanGuang Lan WangJi
The first two characters are taken from an ancient collection of poems, and describe a person of upright and faultless disposition. The next two characters, Han Guang, refer to a harboring of light. To me, it’s not the light part that’s interesting, but the state of harboring that defines the most significant cultural nuances.
If you ask older Chinese women the kind of jewelry they prefer, some might tell you pearls or jade. If you ask these ladies why they don’t like diamonds, they’ll tell you diamonds are too shiny, and traditional Chinese culture values subtlety. It is (or at least was) considered a form of virtue if you don’t flaunt your brightness in other people’s eyes; so the polite thing to do, if you’re brilliant as flames, is to shield that light so you aren’t so in-your-face about it.
Here I must give props to Lan WangJi’s actor Wang Yibo. Early reaction from the Chinese audience had some unfavorable reviews that criticized his lack of facial expressions, but these folks later retracted their opinions, because they realized that he’s actually doing a superb job with his eyes and his body, considering the limitations. The script gives him less than a handful of lines in most episodes.
You can see how he seldom looks directly at anyone in the eye, unless he’s about to kill you, or (later on) if you’re Wei Ying. If you don’t know him well, he seems unconfrontational with those downcast and shielded eyes, almost to the point of hesitance; but as soon as you step over the line (sometimes a line named Wei Ying), you’ll feel the sharpness of that fierce light in his eyes like a blade to your throat. Just ask Fairy the spiritual dog.
Related meta posts Courtesy names | Courtesy names 2 | Honorific titles | Name meanings | Genealogy register | Sanren | Swords |
WangXian is the melody composed by Lan WangJi for Wei WuXian. It is how he recognized his soulmate after the latter’s death, even though Wei WuXian now occupies a different body. WangXian is also translated as Forgetting Envies, and is a portmanteau of their names.
But first, a little background on the connotations of the family names, all of which are common enough but will subconsciously shape how these characters are perceived in the minds of a reader who is a native speaker. If you know Chinese, you might even get the feeling that the author got pretty tongue-in-cheek about the naming of her characters.
The Jin clan is gaudy and loud about their wealth. The word Jin 金 is literally “gold”. The Lan clan has family emblems that are cloud-themed. The word Lan 藍 is literally “blue”. The Jiang clan has roots in a province with lots of ponds and rivers. The word Jiang 江 is literally “river” in reference to bodies of water in Southern China.
The surname Wei 魏 is familiar to history majors, as it’s one of the three nation-states in the Three Kingdoms Period. However, if you’re also a WeiLan shipper from the Guardian fandom, then you might have heard that Shen Wei’s name Wei 巍 means “Mountain god entrusts himself to Ghost”. (I might do another post on this sometime.)
In Wei Ying’s Wei 魏 there’s no mountain 山 involved; that’s the top part of the character in Shen Wei’s Wei 巍. The original meaning of the word 魏 is grand and majestic – the left half of that character means god or entrust, while the right half means ghost. Fitting surname for a grandmaster who deals with the deceased.
Now the fun part with the personal names.
Lan Zhan’s formal name Zhan 湛 means deep or clear, without impurities. It is often prefixed to the front of the word “blue” to describe the color of sunny cloudless skies, azure.
(As an aside, his elder brother Lan XiChen’s formal name is Huan 渙, and means an expansive spreading of water with connotations of dispersion. Both Zhan and Huan have the water word root on the left half of the character.)
Wei Ying’s formal name Ying 嬰 literally means babe. In ancient times it used to also refer to necklaces, but that didn’t stop people from naming their sons thus. Historically there are at least a handful of well-known figures with that name. The Taoist term YuanYing 元嬰 refers to a state of primordial transcendence, often considered an intermediate phase on the path toward deity.
The author really nailed it with their courtesy names.
WangJi 忘機 / 忘机
Wang 忘 means to forget. In English it may have negative connotations because it’s associated with a passive disease and loss of treasured memories. In Chinese the act of actively forgetting can also be a positive renunciation of worldly troubles, so the character is somewhat more romantic than an English speaker would assume.
Ji 機 / 机 is typically used in common speech to refer to machines, mechanical things, opportunities, worldly things that have many parts intricately connected with each other. In more metaphysical discussions, it implies the intertwined destinies and sophistication of the mundane.
I’ve seen a classy tea store selling leaf blends named WangJi, among a collection of other poetic references and reminders of the otherworldly. To forget the secular calculations and intricacies of the world is to live freely and without distractions; as an antonym of precision, it has heavy Taoist flavors because of its seclusive connotations.
WuXian 無羨 / 无羨
Wu 無 / 无 means none, nil, the lack of.
Xian 羨 means envy. WuXian is a perfect name for someone who embodies the untamed, envious of none. His outlook on life is never to bemoan his fate, come what may. He doesn’t know the meaning of jealousy. He is complete in and of himself.
WangXian as a portmanteau is so clever – even though the other portmanteau is brilliant as well: WuJi 無機 / 无机 is pronounced exactly the same as the Chinese term for “untamed” 無羈 / 无羁 (yes, those are the two characters you see inside the red stamp next to the show’s title logo).
When a native speaker hears the term WangXian 忘羨, they get the basic meaning of “forgetting envies”, but at the same time they’re inevitably reminded of this famous idiom:
只羨鴛鴦不羨仙 Zhi Xian YuanYang Bu Xian Xian Literally: Only envy the mandarin ducks, and not the deities. (Alternatively: A pair of love birds is more enviable than immortality.)
In a world of cultivators whose ultimate goal is to ascend into deity, lovers only envy the mandarin ducks, which are symbols of faithful monogamy and harmony, a tribute to growing old together, companions for life.
hi i just want to ask during the 3rd? time wangji was drunk where he stole chicken for wuxian and gave the money pouch to wuxian, why is that every time wuxian "thanked" him, wangji will take back whatever he gave to wuxian?
Hello there, you’ve put your finger on an important aspect of their relationship!
Spoilers below ;)
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Meta on "Thank you" and "Sorry" in MDZS
Inspired out of spite by a post where someone said Lan Wangji not wanting to hear thank you and sorry from Wei Wuxian in the novel is stupid because healthy couples need communication and this is why CQL is better. LMAOO
OK. Before starting I want to point out that one of the themes of the novel and Wei Wuxian's characterisation is the concept of indebtedness and owings . It is one of the reasons why he is so dutiful towards the Jiangs and why he sacrifices his golden core and the reason he resurrects Wen Ning.
The words Thank you and Sorry are very significant in the story and are very explicitly tied to the above mentioned themes. They are the words Wen Qing says to Wei Wuxian in her parting because she feels indebted towards Wei Wuxian as he has protected her and the rest of Wen remnants and even resurrected Wen Ning on her request. Wen Qing and Wei Wuxian have a cycle of debts where they both believe they owe each other. [Just to clarify I don't think it's just indebtedness that defines their relationship but it's definitely there ].In the next life Wei Wuxian uses the exact pair of words on Jin Ling as he owes him for insulting his parents whose deaths are caused by him.
As you can see these words are explicitly associated with indebtedness and owing.
Lan Wangji loves Wei Wuxian unconditionally. He obviously wants Wei Wuxian to return his feelings BUT he does not want Wei Wuxian to do so out of indebtedness or gratitude. Whenever Wei Wuxian says thank you to him, the narration describes as him being tense and sad, the cause of this is as I described earlier and also because in the past whenever they have exchanged these words they have parted on bad terms.
The text is very explicit about this.
"Lan Zhan you're really scared of me telling you 'thank you', aren't you? I suddenly remembered many of the times we parted ways in my past life, I said 'thank you' to you right before. And every time we separated, I worsened the next time we met"
The time they killed Wen Chao and Wen ZhuLiu at the courier station, the time they met each other through the flowers at the towers in Yunmeng, the time they parted at Yiling's Burial Mound. Every time, he used that word to mark a clear line between him and Lan Wangji, stretching out the distance between them.
The word that finally breaks their makeout session in the inn is one thank you from Wei Wuxian where Lan Wangji snaps as he believes Wei Wuxian is only doing this out of gratitude towards him and not because he returns his feelings. It is insulting and heartbreaking to him and he is angry because of this.
When the conflict is resolved with Wei Wuxian's confession that includes :
"... I swear it's not the heat of the moment or joking around like I have done in the past. I'm not doing it out of gratitude either. Anyways, it's not because of anything else. I really just like you so much."
He deliberately clarifies that there are no feelings of gratitude or indebtedness involved in reciprocating Lan Wangji's feelings.
"Between you and me, there is no need for 'thank you' and 'sorry'."
This line by Lan Wangji defines how he views their relationship i.e without indebtedness or owings. So far all the relationships that Wei Wuxian had been a part of have the feeling of obligation and indebtedness, the Jiangs for raising him and Wen siblings for rescuing him and helping him out . Ofcourse he loves them but indebtedness and his sense of duty to repay them are also his major motivations. He takes drastic steps because of this and we all know how they turned out. Lan Wangji doesn't want this kind of relationship with him, the one he had with others in the past. He wants him to be free of ever feeling like that he owes Lan Wangji something.
Thank you and sorry are not just courtesy words here but carry a hurtful baggage and choosing not to use them isn't a miscommunication but freeing from the feeling of obligations.
The goose who holds a reed between its mouth
The title of this and previous weeks chapter in Japanese, which is translated to "Perfect Preparation" is a taken from a saying. The chapter title is 葦を啣む (ashi wo fukumu), meaning to hold a reed between the mouth. It's taken from a saying 葦を啣む雁 which translated to "a goose hold a reed between its mouth". The saying has literal meaning as translated in English title "a good preparation".
The saying refers to the habit of migratory birds, in this example is goose, who bring a reed between its mouth in preparation of long migration. They would take a reed between their mouth and take off to long journey crossing the sea. They will use the reeds when they stop to rest their wings before continuing their journey.
A dead bird is said to left behind "the reed". This is what Mai left to Maki, which becomes the sword.
And Maki, with her symbolism as "the goose", picks up the reed to continue her long journey crossing the sea, to destroy the Zenin family.
More about this in this link. Translated below.
A goose holding reed in its mouth
Before they cross the far away sea, migrating bird geese prepare reeds for resting their wings on the sea. In addition to this, from the legend that said they embark on a migratory journey, it is an analogy of having made preparations and not missing a thing. The source is from Huainanzi (1).
As if to correspond to this, there is the legend of “Ganburo” (2) from Tsugaru region in Japan. After the geese cross the sea in autumn, they arrive at Tsugaru beach and drop reeds and twigs, adding them to reeds and twigs already at the beach. Then they will travel further south. When the season becomes spring, the geese head north. While they cross the sea, the geese pick up the twigs they dropped in autumn at Tsugaru beach and take off.
By the time the geese arrive in the north, the number of twigs remaining on the beach is the same as the number of geese who die between autumn and spring. It was told that people of Tsugaru pick up these twigs, bathe them, and hold a memorial for the geese who lost their lives during the migration journey. The memorial bathing is called “Ganburo”.
When it’s written like this, “a goose holding reed in its mouth” and “ganburo” match perfectly, but it seems that geese do not actually migrate holding reed leaves in their mouth. Besides, the legend of “Ganburo” itself does not exist in the Tsugaru region. Apparently it is a story told by city people by connecting the floating objects found during winter in Tsugaru beach with Huainanzi.
When we look up words related to this story in the 72 pentad calendar, we find “the coming of geese” (first sign of cold dew, around 10/9) and “the geese return to water” (first sign of clear air, around 4/10).
Huainanzi is an ancient Chinese text thought to be gathered by scholars.
Ganburo, written as 雁風呂 (雁 = goose, 風呂 = bath), literally translated “the bath of geese”
The Culling Game in Japanese is written as 死滅回游 (shimetsu kaiyuu), literally translated is "annihilation migration". It refers to the behaviour of fish species that have different breeding ground from their habitat. They migrate when it's time to spawn, then die in massive number in the new environment because their body simply can't tolerate the environmental condition of the breeding ground.
One of the example of this kind of fish is pretty... familiar. The Junpei fish.