Because so many people have asked I have decided to write down a review for which version of “Three Kingdoms” I recommend.
My affection for this novel has some pretty humble, quite Movie Geeky origins: John Woo’s two-part film Red Cliff. I had heard years ago that John Woo would be returning to China to produce a major epic based on the historical Battle of Chibi, (Red Cliff) which is depicted in the novel The Romance of the Three Kingdoms. So, being the John Woo fan I am, and grateful of his escape from Hollywood, then sought out the book, finding only an abridged copy at the library when I lived in Skokie, Illinois.
I pored through it. Though I will admit now that it took me all of allowable renewals to read the book which just seemed to end once I got a grasp of the names (Chinese Romanized) and the major characters. It was after that that I sought out the book to buy, giving me time to read through it. I found an updated abridged version and read it again. I recalled the familiar stories as I read this version but it was a whole new experience, as the story on the whole seemed clearer. Was I in for a surprise, when it came to just how long and dense the complete story is.
In the intervening years, while I awaited the final production of Red Cliff to reach US screens I read Three Kingdoms a total of seven times, which included several differing editions of the Moss Roberts translation. (I have read it many more since Red Cliff was released and I am now reading it again.) But before we get into my reviews for the varying editions, we should delve a bit into the history of the book itself. Please note that I am going to give a brief, overly simplified history of Three Kingdoms based mostly on the book’s afterword and shallow researches on Wikipedia. Here goes:
History:
The novel entitled The Romance of the Three Kingdoms covers the approximately 96-year historical period in China called (natch) the Three Kingdoms Era, which saw the Han Dynasty split into the three dynasties of Wei, Wu and Shu Han that begin with the Yellow Turban Rebellion about AD180 (approx.) to AD280 depending on the history you are following. Many scholars mainly reframe the era from AD220, with the foundation of the Wei Dynasty to AD280 with the unification of China under the Jin Dynasty replacing the Han.
The Romance of the Three Kingdoms is also considered one of the four literary classics of Chinese writing[1] whose origins are hard to trace, mainly due to the elusiveness of the origin of the writer to which it is attributed, Luo Guanzhong (d. AD1390 – 1440?). Scholars generally assigned the novel to the late Yuan-early Ming, between AD1350 – 1390, due to the fact that this is when Luo Guanzhong may have lived.
The basic source of the novel is the AD274 Sanguozhi (SGZ) or Record of the Three Kingdoms, authored by Chen Shou (d. AD297) whom served the Shu-Han Dynasty as well as the Jin Dynasty that eventually ruled a united China. This history is mainly a series of biographies of the major figures and attached events of the Three Kingdoms Era, breaking into thirds each representing the kingdoms of Wei, Wu and Shu and the leading figures of each kingdom. While the author spent little history on the Shu Dynasty, he did devote a large portion to the figure of Zhuge Liang (Kongming), the Shu Prime Minister of whom he had collected writings from.
But also included alongside the Sanguozhi during the long years of history leading to the AD 1494 edition, is a vast sea of operas, plays, dramas, poetry, song, folktales and lesser histories that had to be drawn upon, sorted and ordered chronologically to fulfill the literary aspects of the completed Three Kingdoms novel.
The reader should also note that there are several different versions of the novel, with the earliest known version being the AD1494 edition. However, it is the forward to a later AD1522 edition, which specifically names Luo Guanzhong as the author even though he may have died nearly a century before the 1494 edition. This leads some scholars do speculate that there may have been an edition that predates the 1494 edition though no evidence has been found to confirm the existence of such. The AD1552 edition is refer to as the Tongsu (TS), or “the novel”.
There is also the most popular edition, a mid-1660’s edition that surpassed the TS edition in its content and popularity. This is referred to as the Mao Edition and is the version that is the most translated now. The Mao edition is the basis for Moss Roberts’ many translations, being the more complete version of the fictionalized novel. In any case, the attributed author Luo had a monumental task ahead of him culling the novel from the various forms of dramas, plays, operas and histories that depict the Three Kingdoms Era from the intervening 1,100 years of Chinese history. That is more than four and a half times the length of United States history!
In each of the disparate forms, therein lay the varied points of view, perspectives and opinions of the authors on the events of the Three Kingdoms. As such, many of the figures of the era are treated differently depending on the version of the story or the political leanings of the author. For instance, scholars connect the novel to the Yuan (Mongol) – early Ming Dynasty due to the rise in Han nationalism brought about from the overthrow of the Mongols and the establishment of the first Chinese rule in many years.
Readers should understand that this novel should not be taken as historical fact. You can grasp this in the novel’s treatment of some of the figures from histories. The two biggest examples are Cáo Cáo[2] and Liu Bei. Almost from their introductions in the story you can see that Liu Bei will be the protagonist and Cáo Cáo will be the antagonist. Event their respective depictions are evident with Liu Bei being portrayed as a benevolent leader.
Cáo Cáo, on the other hand, is depicted as the novel’s primary villain. He is treacherous and plotting and will stop at nothing to conquer the land. Holds the Emperor in thrall and rules through intimidation and imperial proclamations bullied from the weakened Emperor. He even sets up his sons to usurp the throne so that no light of blame falls on him self.
However, the historical Cáo Cáo is quite different. He was plotting and charismatic, and because of his aspirations, he centralized the government, promoted education, and tried to pacify the northern regions in a time of constant civil war. Scholars note that in his role of Prime Minister to the Han Emperor, it was his leis majesty that prevented many others from thoughts of usurpations.
Many scholars and historians do concede that the succession to the throne by the Wei Dynasty may be legitimate, while the novel paints it as treachery and that Liu Bei, through the power of his virtue and lineage[3] is able to establish his own dynasty and continue the Han line once the Wei succeeds the throne in the north. All other opinions of the characters are left for us readers to determine for ourselves.
Characters of history are not the only to suffer the changes for drama the novel uses. The Battle of Chibi, called Red Cliff, is another interesting incident of rewriting history. The novel depicts it as a quick lightning strike due to the combined strategies of Zhuge Liang and the Southland (Wu) general Zhou Yu. Liu Bei’s contingent, without a firm land to hold, needs to ally with the Sun clan of the Wu southlands. The novel then tells of plots between the two factions. The Southland comes off seeming very easily tricked and is constantly outsmarted by Zhuge Liang.
Though historically, the Sun clan of Wu was the first to establish a major patrimony in the south at the time of civil wars before the Three Kingdoms era. However, only the South general Lu Xun seems to escape the slanderous characterizations of the novel being the only character of the Southland to directly defeat both Liu Bei’s vast army and Zhuge Liang’s tactics. The reason for the vast turnaround in the characterization is lost on modern scholars, I think, and I will not hazard even a guess myself other than the need for great drama in recounting the later Battle of Yiling.
Historical records hold a very different account of the Battle of Chibi. Instead of a quick battle using the wind and fireboats, the battle was a series of skirmishes that happened continually over the course of a month with Zhou Yu using the fireboats and winds to disrupt Wei’s larger forces. However, a letter written by Cáo Cáo to Zhou Yu states that he is withdrawing due to illness in his troops rather than the prolonged fire attacks. Such is the course of drama versus history.
Regardless of how the historical figures come off in the telling of these stories, there is no denying the novel’s influence in Asia. The novel itself is over 600 years old and for it to remain in constant print and popularity is testament to the power of its storytelling. It is a novel that incorporates mythology, magic, warfare, political maneuvering, and historical accounts with a deft ease. Moss Roberts states that the DeWitt-Taylor translations mistakenly adds Romance to the title signifying a departure from reality, when history is actually at the core of the novel.
Today, plays and operas are still performed. There has been a recent CCTV series, which marks the second adaptation of the entire novel. The Japanese video game company KOEI continues to produce several video games based on the Three Kingdoms stories and characters. There has been rash of Three Kingdoms movies that have recently hit movie screens, Not only John Woo’s two-part epic Red Cliff, but Daniel Lee’s Three Kingdoms: Resurrection of the Dragon about one character in particular, Zhao Zilong, and the upcoming The Lost Bladesman starring Donnie Yen as the warrior Guan Yu.
The Shu general Lord Guan Yu Yuchang, having gained mythological status through his fighting prowess is still revered today as the God of War and Protector of Policemen. Such is the legacy of the characters of the novel. Political leaders of China readily admit that they carry a copy of Three Kingdoms with them to remind them of the need for heroics, of the need of humanity in politics, of martial prowess and courage, of loyalty to family and country. Such is the power of Three Kingdoms.
Having cover all of that, you can tell that I am by no means a full-fledged expert on the novel Three Kingdoms, but I do know that having read it, in its various editions, for as many times I have, that some readers may be interested in my opinion of them and my recommendations on what edition is best.
Well, here goes:
Recommendations:
Because this was my first reading it took me a while to sort the characters when I read the updated abridged version. I bought a trade version to satisfy my geek-completist instinct. I would not recommend this edition to a beginner, nor does Moss Roberts, the translator, whom acknowledges its flaws in later editions.
This was the last version I bought. It comes as two oversized volumes, making it pretty inconvenient for carrying around in either a satchel or backpack. But it is the most current translation with a great notation section and clear type and updated or altered text that clarifies the translations. The only flaw is that the notations for the entire novel are in the second volume only. But it should not make too big a difference if you are reading these at home.
I would recommend this edition for those who want the complete novel but wish to stay home and read it. I rarely take this edition anywhere. It sits on the shelf in my apartment because I read on the move. I want a book I can carry in my coat pocket or fits in my man purse for ease of use. Since I am in continual reading of this book this only suits my needs if I am sitting at home to read. Which I cannot do as I want to keep reading the story wherever I go.
This was the second edition that I purchased. I wanted to read the complete novel after finishing the abridged version. Mainly because I wanted to know if there was more to the stories presented. The abridged versions focus on Liu Bei as the primary protagonist but with the full version I was astounded at how many characters and stories are contained within the pages of Three Kingdoms.
This edition usually comes packaged together. Each of the four volumes is the size of small paperbacks, which makes for easy carrying as I have done. My copies are so worn and dog-eared from being jammed into my pockets and man purses over the year. And it has been years now that I reflect on it. It contains the complete notation broken down into every volume and the last time I read this through I referred to the notes throughout, which greatly illuminated my experience of the novel.
Though the text is complete, typographical errors abound in the book. Only noticeable in the large sea of text once you come across them. But all in all an easy read and easier carry for those completists on the go. I do recommend this for the new readers that want to read the whole novel. I recommend just reading the story first, then, once you get familiar with the characters and situation, read it again and reference the notes. A great read. I just may pick it up again!
As you can see, this is slightly larger than a regular paperback, but this is the one I go to the most, mostly for the ease of carrying and the clarity of the type. This is the edition that I recommend to beginners. I am reading this currently and using the afterword for this writing. I enjoy this edition very much.
I am by no means an expert or scholar on Three Kingdoms. Instead, I am simply a passionate fan of the book and any spin-off material of the stories. I am very aware that the novel does not reflect actual history. I just wanted the reader to have a short, compacted history of the novel to give context of its writing and publishing.
I am constantly on the outlook for other versions of the Three Kingdoms, whether it is new or different translations, or films or graphic novels and video games. I cannot get enough of the stories and characters. Three Kingdoms has influenced my own writing and moviemaking. It has had a large personal impact on myself as a person of integrity. Different books impact people in different ways. I am sure that this novel may not impact you as it has me. But I do hope that you enjoy the journey that the novel takes you on no matter what edition you decide to pick up.
I hope this helps.
© 2011 Ernest M. Whiteman III
Bibliography:
Afterword to the Unabridged Edition, About Three Kingdoms, Moss Roberts, 1999, Three Kingdoms: A Historical Novel, Foreign Language Press/University of California Press
Notes:
1. Which includes “Journey to the West”, “Outlaws of the Marsh” (also called “The Water Margin”) and “Dream of the Red Mansion”. Scholars also include “Plum in the Golden Vase” as the Fifth Classical novel but it is generally excluded due to its sexual depictions.
2. Mandarin, t’sao t’sao, Cantonese, chou chou. Though there are some regional dialects in China that pronounce it cow-cow. But his common name was Mengde.
3. His is deemed an “Imperial Uncle” to the sitting Emperor.
