In Journey to the West, Zhang Shao and Li Ding are two distinctive yet minor characters. A fisherman and a woodcutter, respectively. Traditionally, these professions symbolized an idyllic life detached from worldly strife, embodying the Taoist ideal of reclusive simplicity.
Both are scholarly hermits, close friends who gather to drink, converse, and compose poetry—a nod to the literati culture of imperial China.
We tell you now about two worthies who lived on the banks of the river Jing outside the city of Chang’an: a fisherman by the name of Zhang Shao and a woodman by the name of Li Ding. The two of them were scholars who had passed no official examination, mountain folks who knew how to read. One day in the city of Chang’an, after they had sold the wood on the one’s back and the carp in the other’s basket, they went into a small inn and drank until they were slightly tipsy. Each carrying a bottle, they followed the bank of the Jing River and walked slowly back.
“Brother Li,” said Zhang Shao, “in my opinion those who strive for fame will lose their lives on account of fame; those who live in quest of fortune will perish because of riches; those who have titles sleep embracing a tiger; and those who receive official favors walk with snakes in their sleeves. When you think of it, their lives cannot compare with our carefree existence, close to the blue mountains and fair waters. We cherish poverty and pass our days without having to quarrel with fate.”
— Journey to the West, Chapter 10
Though seemingly inconsequential, their dialogue serves a pivotal artistic purpose:
- Plot Catalyst: Their conversation introduces the conflict between the Dragon King of Jing River and the mortal diviner Yuan Shoucheng. This dispute triggers the Dragon King’s defiance of heavenly decrees, leading to his execution and the subsequent haunting of Emperor Taizong of Tang, who is forced to visit the underworld.
- Chain Reaction: Taizong’s resurrection prompts the Grand Assembly of Souls, where the need for Buddhist scriptures is declared, ultimately launching Tang Sanzang’s pilgrimage.
Structural Bridge
Their scene acts as a narrative pivot, seamlessly linking:
- Sun Wukong’s Chaos: The earlier havoc in the Heavenly Palace.
- Tang Sanzang’s Mission: The solemn quest for scriptures.
Metaphorical critiques of human hypocrisy – Illusion of Escape
The names of the characters Zhang Shao and Li Ding carry subtle irony. While “Shao” in Chinese means “slight” or “superficial,” “Ding” in Chinese means “calm,” “steady,” or “unshaken.”
Combined, their names imply that their composure and carefree demeanor are merely surface-level acts of tranquility, rather than the genuine detachment of true hermits.
Their “idyllic” lives ironically underscore the difficulty of transcending one’s station, even through intellectual pursuits.
This highlights the novel’s recurring theme of exposing false appearances and critiquing those who pretend to transcend worldly concerns without true spiritual attainment.
Subtle Social Commentary – Fate and Scholarship
The author uses these characters to subtly critique the social realities of Ming China. Despite their erudition, Zhang and Li remain marginalized—fishing and chopping wood—reflecting the era’s rigid social hierarchy, where scholarly merit often failed to overcome inherited status.
By grounding cosmic events in humble human interactions, the novel underscores its central theme: the interdependence of mortal and divine realms.
Zhang Shao and Li Ding, though fleeting presences, embody Journey to the West’s genius—turning minor figures into linchpins of fate, while weaving social critique into mythic storytelling.
Leave a Reply