I first heard of the term ‘Chinglish’ when I was at Baiduizi (白堆子) Beijing Foreign Languages School in the 1970s, through Janet Adams’ book, From Chinglish to English. The book contained 60 short dialogues in simple American English. It was meant to be teaching us colloquial English, compared to, I suppose, the textbook English written by Chinese teachers. I found the term Chinglish rather odd, and it was an odd thing for us pupils at that particular school to be made aware of, because the school was, quite literally, the only school in China at the time where foreigners were directly teaching Chinese children foreign languages and cultures. Few of these foreign teachers had formal teaching qualifications, and they were not using any textbooks written by Chinese teachers, but in their own ways using material the school compiled specially for the pupils. It was a form of audio-lingual and direct method. The language we were taught was pretty colloquial and we did not, as far as I could tell, speak Chinglish that the examples in Adams’ book illustrated.

This article is a case study on the Yunnanese scholar Li Yuanyang under the background of the Ming's incorporating and sinicizing Yunnan, exploring how he views the Ming's actions and writes Yunnan's becoming a part of China. First, it retells Li's life experiences and examines the Yunnan native things and Chinese traditions in his writings. Then, after noting his emphasis of Yunnan's belonging to China, it concentrates on his comments on the Ming's military campaigns. As it analyzes, on the one hand, he justifies these campaigns against indigenous rebellions, on the other hand, he also criticizes unnecessary wars and some imperial officials' selfish deeds. Besides, he considers the constructing and reconstructing projects as a symbol of the central state's righteous governance, which should also bring benefit and benevolence to the indigenes. In a word, Li's case reflects the deep impact of the Ming's invasion on the local elites, as well as how they react to this.

The discovery in 1977 at Fuyang (Anhui province) of several mantic instruments dating from the beginning of Western Han (ca. 165 B.C.E.) marked a decisive change in modern studies of early Chinese science, divination, and religion, many of which now regard the shi 式 as the material basis for modes of thought in Warring States, Qin, and Han culture. While the examples of devices discovered to date have provided a valuable interpretative key to early Chinese schematic cosmography, the meaning of the term shi remains a source of perplexity as its connotations are imprecise and can vary from one author to the next. Whether this change is an accurate representation of ideas about the shi in pre-Han and Han is precisely the issue at stake in the present paper. The following conclusions are drawn: (1) the existence during the Han of several instruments of the shi type no longer permits the use of the term to refer to a singular and unique device, even though evidence drawn from the received texts tends to show the contrary; (2) the multiple meanings of the term shi, as well as the gradual shift between its strict sense as mantic device (shipan 式盤) and its broad sense as calendrical astrology (shizhan 式占) give rise to serious misunderstandings when it is used alone; (3) since these mantic devices are primarily offshoots of pre-Han and early Han astrographic and calendrical theories, the patterns and designs that appear on their surface (shitu 式圖) need to be considered within the larger scope of the spatial representations of calendrical time cycles, of which the excavated texts and artifacts now offer numerous examples; (4) the widespread use of the term shi-method (shifa 式法) in modern studies when referring to some mantic techniques described in the manuscripts raises the interesting question of how to delineate boundaries between the early developments in calendrical astrology and the hemerological practices in general.

This study traces the origins and development of the concept of Li 理 (Pattern) in early Chinese Cosmology, locating its foundation in the root metaphor derived from the natural lines or veins along which a block of jade can be split by a skilled artisan. From this relatively concrete image, li comes to eventually represent in Daoist cosmology the more abstract quality of the natural patterns or structures within the universe along which all phenomena move and interact with one another without the interference of human beings. After examining how early Confucian works emphasize the more abstract and derivative qualities of order and structure, we see that the likely Yangist authors in the Lüshi chunqiu return to the original metaphor of veins in jade but, instead, apply this to the veins through which the qi circulates through the human body.

We then see how this metaphor is expanded beyond the human body in the classical Daoist texts to come to represent the natural guidelines both within all phenomena and those that guide their movements within the cosmos. Within phenomena these include such varied things as the structures for the generation and expression of emotions within human beings as well as the natural lines along which the butcher's chopper passes in order to cleave oxen. In Daoist inner cultivation literature it is these patterns with which sages accord so that their spontaneous actions are completely in harmony with the greater forces of the cosmos. Only after long practice of the apophatic contemplative methods that include concentrating on one breathing and emptying out the normal contents of consciousness can the sage be able to accomplish this goal of “taking no action yet leaving nothing undone.” Thus the concept of li as these natural guidelines comes to serve as an explanation for why this classical Daoist dictum is effective in the world.

Finally, the Huainanzi contains the most sophisticated and sustained usages of the concept of li as the natural patterns and guidelines in the cosmos arguing that complying with them is the key to a genuinely contented life.