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China
Wong Yoon Wah and Laina Ho
China is the oldest continuous civilisation in the world and in its four thousand years of
history Chinese literature flourished, rich and diverse in its themes, genres and
collections. Yet it was only in the twentieth century that the special educational and
recreational needs of children were recognised and provision made for them. Until then,
children were able to enjoy a literature meant for adults. To understand why this was
possible it is necessary to have an understanding of the social life of the Chinese from
ancient times.
Socio-Cultural Life of Children in Relation to LiteratureFrom a very early age most Chinese children became familiar with a wide range of
myths, legends, folk-tales, short stories with heavy moral values, as well as classic tales
of romance, adventures, mysticism, supernatural, and even stories of crime and
detective work, told to them by their elders, mostly to entertain but very often to explain
the reasons behind every Chinese festival that was celebrated. The festivals which were,
and still are, celebrated throughout the thirteen-month Chinese calendar have as their
origins Chinese fables, folklores, historical figures and incidents which had an impact on
the political scene in China. For instance, a festival such as the Dragon Boat race
originated in the death of a famous court official and poet, Qu Yuan (340–278 BC) who
drowned himself when he became disillusioned with the follies of his King. The making
of rice dumplings to feed the soul of Qu Yuan, and the race of the dragon boats sent out
to rescue him, have been carried on by the Chinese for centuries. Over the years the
tragic story of Qu Yuan, with much elaboration, has been romanticised to appeal to
children. On the other hand, a piece of romantic folklore, ‘The cowherd and the weaving
maid’, became the reason why unmarried women and men celebrated the seventh day of
the seventh month.
In Imperial China children’s literary experiences were enriched by professional story-
tellers who continued with their trade up to modern times. It was customary for children
to accompany their elders to public places such as the market and the tea-houses where
they were treated to soap-opera style stories told in many segments. This oral tradition
became highly professional during the Song period (960–1279). This kind of story-telling
could sustain the interest of children because it used a simple narrative style. The
narration was rich in rhyme, and was often punctuated by bamboo clappers, drums,