Friday, 12 December 2025

No common sense (China)


Student (let's call her Shirley), from almost 25 years ago and now in my Tuesday group (after a long break -- from my classes, not from learning Chinese), has sent me something she'd written when she was working in N.E.China, a couple of decades ago.  It was about a trip to the hospital there for her husband's broken wrist playing ping pong:

Quote

The men showed the ineptness combined with enthusiasm I had witnessed so often when the Chinese were faced with spatial tasks, whether piling up luggage or moving furniture through doorways.

Unquote


    This reminds me of my arrival, early evening back in August 1988, in Shanghai for the start of a 37-day film shoot, following an American multi-millionaire on his motorbike across China from Shanghai to Xinjiang (and over to Pakistan for our flight back to London), part of it on the Silk Route.

    Two mini-buses had met us at the Shanghai airport and delivered us to the Huating Hotel, which was in its early days at that time.  (It'd opened in 1986, googling tells me.)

    I say "early" in the sense that they probably hadn't yet, at that point, gained that much experience in the hospitality trade catering to foreigners (they might've improved since), which might explain the no-common-sense behaviour of the young porter in this story.

    The mini-bus drivers unloaded our filming equipment (54 boxes) and personal luggage (two bags each for us five crew members and the one motorcyclist), and drove off, leaving them sitting outside the main entrance.

    All hands on deck for the crew, therefore, to declutter the front of the hotel, and take them inside to the main hall, which was huge -- about 50 ft (if not 75) from the main doors to the lifts.

    There we were, the hotel guests, trying to be extra considerate, picking up two boxes per person (one box in each hand), taking them into the hall, and leaving them there, just inside the main door.  Back and forth, back and forth.

    A couple of minutes later, a young porter (late teens or early 20s?) turned up with a flatbed luggage trolley (/ luggage cart / platform trolley).

    He started to try and load up the flatbed trolley.

    For some reason, this young man went first for the cylindrical rigid case, which was the tripod container.  It was light, as it only housed a tripod, with a diameter of a large dinner plate, and about 4 ft long.

    He picked it up and laid it horizontally in the middle of the flatbed trolley.  It took up about a third of the whole trolley area, leaving under a foot of space on either side.

    Next, he picked up one of the square filming equipment metal boxes, and placed it on top of the round side of the horizontal-lying cylinder.  Of course, it wouldn't sit nicely balanced there, it just rolled off.

    He tried to place it in the trolley space on one side of the horizontal cylinder.  Nope, not enough space for it to sit flat on the trolley -- it was leaning at an angle against the horizontal cylinder, and started to slide off the trolley.

    He tried the other side of the cylinder.  Same thing.

    Watching this unfolding while I was dealing with the room registration forms, I thought to myself, "I wonder what he's going to do next?"

    The young man gave up on the first metal box.  Put it back on the floor.

    Picked up another metal box, a rectangular one this time.  Went through the same steps as for the square one.  Each time, no joy.

    Gave up on the rectangular metal box, and went for an oblong one.

    I wondered again, "I'd be interested to see how he is going to solve this problem, the way he's going about it."

    Well, at least he didn't go through the whole batch of metal boxes after that, to see if one of them might get onto the trolley with the cylindrical rigid case.

    What he did do was to abandon the trolley altogether.

    He picked up two of the metal boxes sitting on the floor, one in each hand, and walked all the way across the long hotel lobby to the lifts where he placed them by the lift doors, ready to go up to our rooms.

    Remember I said the hotel lobby was about 50 ft long, if not 75 ft?  Back and forth, back and forth, the young man carried, one in each hand per trip, the 53 metal boxes of filming equipment from just inside the hotel main entrance all the way to the lifts some 50 ft (or 75 ft) away.  Trip after trip after trip, totally giving up on using the flatbed trolley.

    At the end of it, when all the metal boxes had been delivered across the lobby, he came back for the trolley:  trundled it to the lift doors, with the cylindrical rigid tripod case as the lone passenger.

    He could've removed the tripod rigid case in the first place, piled up as many square, rectangular and oblong metal cases as possible, which would've been delivered in about three or four trips, then come back for the rigid case which he could've simply carried in his hand.

    Or:  the cylindrical rigid case could've sat on top of one of the piles of metal boxes for one of the trips.

    I remember thinking at the time:  What kind of educational system (school and home upbringing) did they have that had failed to instil the most basic of common sense.  So sad.  And this was a country that had devised the most amazing administrative system going back to something like 600 B.C. (at least).

    Well, they seem to have caught up a bit now, it's good to see.  Blame it on the Cultural Revolution for the huge gap in everything (their education especially) -- which is what they tend to do anyway.


(Shanghai, 1988)



Puzzling behaviour (London)

 

This blog is prompted by a WhatsApp text conversation with someone (let's call her Cindy) who was commenting on someone she'd met through her friend.

    Cindy said that she'd send this woman greetings for the various festive occasions, or advertised freebies, or short texts asking if she was from a particular Chinese dialect group (like Cindy herself), but she'd get silence to all her texts.  Cindy asked what I thought of this person's behaviour.

    I'm at a loss to answer Cindy's question, as I've had people do it to me -- people I've helped extensively, people I've given my time and effort to free of charge, then they just go silent.  What had I said??

    At the advanced healing course in September, held in London, I met someone who'd come down from Manchester for it.  Let's call her Meiling.


    Before the teaching started, she was being given an energy adjustment (similar to, but not the same as, reiki, for those of you who have heard of reiki) by a male volunteer, so I joined him.  He soon left, so I was alone with Meiling.


    Meiling started to tell me, in Cantonese (I don't know if she's from Hong Kong or not), about her aches and pains.  I told her that massage is quicker for such muscular issues.


    She was full of awe, "Wow, you do massage!  You must teach me.  Come to Manchester.  You'll be most welcome."


    She said it over and over and over again, enthusing, sounding warm and welcoming.  I took down her number.


    After the course, I texted her on WhatsApp, saying, "Hi, it's xx (from the London group, the one who can do massage) making contact."


    She came back with, "Nice to see you and your wife."


    I texted back, saying, "My wife?  I'm not a lesbian."  (The second bit was a joke.)


    In case she'd read my name as a man's name, I sent another text with, "xx is a woman's name."


    Total silence from her since then (September).  Nothing to try and find out what it was all about.


    I thought I'd identified myself well enough (that I was from the London healing group [vs her Manchester healing group]; that I was the one who could do massage).


    Well, obviously not, but then common courtesy would mean that one would get back to the sender and say something like, "Sorry, I've got you mixed up with someone else.  Can you remind me who you are."


    If her English is not good enough, there's google translate these days, among other things, so there's no excuse really.


    So, all that gushing and repeated "You must come to Manchester.  You're most welcome to come to Manchester.  You must teach me how to do massage" was empty talk then.


    Well, at least I've found out right at the beginning.


(London, 2025)



Strategies for learning Chinese characters: 02 (蓬门荜户 vs 筚路蓝缕)

 

Another set of lookalikes in the WeChat Chinese crossword puzzle game:  


荜 bì in 蓬门荜户 


and 


筚 bì in 筚路蓝缕  



(1) 蓬门荜户
péng mén bì hù  
"thatch door bramble door"

(from googling: one version) 形容居住的条件非常简陋、生活困苦。
(google translate) Quote It describes living conditions as extremely simple and a life of hardship. Unquote

(from googling: another version) 是一个描述贫寒简陋居所的四字成语,由“蓬门” (用蓬草做的门)和“荜户” (用荆条、竹枝等编的门)组成,整体比喻穷苦人家简陋的房屋,强调生活清贫,常常也用来指代出身寒微的家庭,带有感叹社会不公或赞扬寒门志士的意味。

(google translate) Quote "Pengmen bì hù" is a four-character idiom describing a poor and simple dwelling. It is composed of "pengmen" (a door made of thatch) and "bì hù" (a door woven from brambles, bamboo branches, etc.). Together, it is a metaphor for the simple house of a poor family, emphasizing a life of poverty. It is often used to refer to families of humble origins, and carries the connotation of lamenting social injustice or praising those who have made a name for themselves despite their humble background. Unquote


(2) 筚路蓝缕

bì lù lán lǚ

"bamboo-fence road blue rags" 


(from googling) 原意是穿着破旧的衣服,驾着简陋的柴车去开辟山林。现在常用来形容创业的艰辛,或形容在困境中开始某项事业非常艰难。这是一个褒义词,用于赞扬前人创业的艰苦卓绝。

(google translate) Quote Originally, it meant wearing tattered clothes and driving a simple cart to clear out forests. Now, it's often used to describe the hardships of starting a business, or the great difficulty of starting something under difficult circumstances. It's a positive term used to praise the arduous and extraordinary efforts of those who started businesses. Unquote


    The 荜 bì in 蓬门荜户 is written with grass radical, for anything related to plants, not just grass, but not woody plants like trees.

    It means "bean" but has been translated as "bramble" as well.

    The 筚 bì (bamboo radical) in 筚路蓝缕 is wicker or bamboo fence.

    In the Chinese crossword puzzle game, the two phrases will appear with one character missing:  蓬门_户 (for 蓬门荜户) and _路蓝缕 (for 筚路蓝缕).  Don't forget there's the element of the clock ticking in the case of the game.

    As they both sound exactly the same, I can't use the pronunciation to help me, although admittedly I can also use the mnemonic of calling them (out loud) 荜户 bì hù and 筚路 bì lù, except that hù and lù sound too similar, which can be confusing.

    I chose the mnemonic "bamboo road" for the 筚路 bì lù in 筚路蓝缕 because 筚 bì is the only bamboo radical character, so it'll stand out more (for me).  (The others are all grass radical: 蓬 and 荜 in 蓬门荜户, 蓝 in 筚路蓝缕.)

    Again, I say it out loud as soon as the phrase pops up:  "bamboo road" when I see _路蓝缕, therefore the bamboo radical version 筚, not the grass radical version 荜.



Strategies for learning Chinese characters: 01 (惊涛骇浪 vs 放浪形骸)

 


The Chinese language is notorious for its homophones, even if you cluster them into same-tone groups to cut down the range a bit, e.g.,


shì (shi in the fourth tone) can be:


* 是 / verb to be

* 事 / (N) matter

* 市 / (N) market

* 试 / (V) to try


    The above is just a very short list to illustrate my point.  I once had a 1-to-1 private student who said one day, "Not another bloody shi!  I just looked up shi in the dictionary yesterday and I counted 30!"

    The written script has lookalikes, but the good news is that they are not as many as the soundalikes.

    I play a Chinese crossword puzzle game on WeChat, based on four-character phrases / sayings / proverbs.

    Some of the sayings contain common elements, which makes it hard to distinguish between the sayings, especially when the clock is ticking.

    The examples I have in mind are:


    (1) 惊涛骇浪 jīng tāo hài làng 

(from googling) 指猛烈的风浪。形容海洋波涛汹涌、浪头巨大得令人惊恐。比喻险恶的环境、尖锐激烈的斗争、巨大的困难或动荡不安的局势。


(google translate)

Quote

Refers to fierce winds and waves. Describes the ocean as turbulent and terrifyingly large waves. Metaphorically, it can also refer to a perilous environment, a fierce and intense struggle, immense difficulties, or a turbulent situation.

Unquote

        (2) 放浪形骸 fàng làng xíng hái 

    (from googling) 指一个人的行为不受约束、不拘礼节,随心所欲,表现出一种洒脱不羁的生活态度。

    • 放浪:指言行不受拘束,放纵不羁。
    • 形骸:指人的形体、躯壳。

    合起来的意思就是,不把自己的身体和外在形象当回事,完全顺从自己的天性行事。


    (google translate) 

    Quote

    This phrase describes a person whose behavior is unrestrained, disregards etiquette, and acts as they please, exhibiting a carefree and unconventional attitude towards life.


    放浪 (fànglàng):  Refers to unrestrained speech and actions, and a free and unconventional lifestyle.


    形骸 (xínghái): Refers to the human body or physical form.


    Combined, it means not caring about one's body and outward appearance, and acting entirely according to one's nature.

    Unquote

        In the crossword puzzle game, phrases will appear with one character (or more) missing, with a selection of similar-looking ones to choose from, e.g., 惊涛骇浪 and 放浪形骸 will come up as 惊涛_浪 and 放浪形_, with 骇 and 骸 to choose from.

        The sort of red herring denominator in the two phrases (惊涛骇浪 and 放浪形骸) is the 浪 làng / [water] wave -- for me, anyway.

        So, I've devised a mnemonic:


    * for 惊涛_浪 (惊涛骇浪): go for the 惊 jīng / startle and the 骇 hái (horse radical), and say (aloud), "Startle the horse."


    * for 放浪形_ (放浪形骸): go for the 放 fàng / to release and the 骸 hái (bone radical), and say (aloud), "Let the bones go."


        It works every single time now.  No hesitation.


    PS:  An additional trick to mnemonics is to say them out loud, which works a bit like the Pavlov's dog effect.  If the sounds are in the wrong order, you will immediately hear the mistake (a bit like singing a song with one bit wrong).



    Strategies for learning Chinese characters: 00

     

    It is fairly universally held that the Chinese written script is one of the most difficult aspects of the language, if not the most difficult.  This is behind the mainland Chinese government's decision to simplify it, to cut down the illiteracy levels.

        The traditional approach is to knuckle down and commit the images to memory.  If one has to copy them out a hundred times before one can actually remember how to reproduce them, so be it.

        I say "reproduce", because that's usually the more difficult part, having to put down the right combination of strokes onto a blank piece of paper.

        The passive recognition part, at least, gives the reader/student an image to work on.  Whether the analysis ends up being correct or not is another matter, of course.

        This is the focus of this mini series: to try and make passive recognition less of a hit-or-miss exercise, even fun.

        In what way fun?  Fun in devising strategies for remembering, turning it into a game.  Fun in getting it right every time, using those mnemonics, feeling a sense of achievement.  And, of course, extra exercise for the brain in the process, especially for the elderly.  Win win.

        A bit of background here for those who mightn't already have gone through the foundation steps.  Those who have already done so can treat this as revision.

        Chinese characters are generally made up of two components:


    * the radical (which gives a clue to the category of the meaning of that character);


    * the phonetic (which gives an indication of the pronunciation, although this element is not consistently predictable -- as I keep reminding students, "Rules are never 100% rules.").


        The radical component:  water radical characters are to do with water, whether they are nouns, verbs, adverbs or adjectives.  For example:


    河 hé: (N) river

    洗 xǐ: (V) to wash

    清 qīng: (adj) clear, (adv) clearly 

    濁 (浊) zhuó: (adj) muddy, turbid 


        One can, therefore, at least get closer to what the character is to do with -- "water" in the list above.  Of course, one can't just use this element, one also needs to know the basic grammar to be able to identify if the water-radical character is a verb, a noun, an adjective, or an adverb, before one can hazard an informed guess.  One can't be as random as to try to pin the tail on the donkey with the Chinese language.

        An English equivalent of the radical component in a Chinese character providing a clue to the meaning of the whole would be the suffix -ology:  it's a field of study, it cannot be eaten or worn.

        As I keep saying to students, "If you don't know how to express something precisely, do it in a long-winded way, use baby talk.  Silence = no communication."  So it is with the recognition of the Chinese script.