
The notes stay with script reform before 1949, and they stop before a later table of later periods.
The notes take up Chinese language policy period by period, with its changes, its problems, and the direction it might take. Language, they write, is generally a product of social life, shaped by politics, economy, culture, and psychology, and closely bound to them. For a student of China who wants to look at the problems of Chinese society — including the side effects paid for economic growth — an understanding of that policy is essential. Script reform before the founding of the People’s Republic, they say, can be split into two large efforts: putting Chinese characters in order and simplifying them, and attempts to write the language phonetically.
Until intellectuals awoke after the Opium War in the mid-nineteenth century, they write, almost no one questioned Chinese characters as the essence of Chinese culture. When a wave of modernization came, and the Qing state could not answer the invasions of Western powers, that once untouchable ground was finally put in question. The trouble, they say, came from the enormous number of graphs. The movement to simplify characters entered a serious stage with the new intellectual Lu Feikui, and took a new turn in the May Fourth period when Hu Shi, Qian Xuantong and others called for simplification. Qian, they write, held that a move from traditional forms to simplified ones was a natural law of the script’s own development.
From that movement, in February 1936, a first table of simplified characters, 324 graphs, was issued. Within half a year of the proclamation, they write, an order came that there was no need to spread it, and in practice it was not carried out. That table was the last effort at character simplification in the pre-1949 reform, and its cancellation meant that the work of simplification passed to the years after the founding of the People’s Republic. In late Qing, Lu Zhuangzhang, from Xiamen in Fujian, made a roman-style alphabet, a work they describe as a new script for spelling Chinese quickly; six years later a fellow townsman argued that characters were cumbersome and hard to learn, and that a phonetic script should be used to make study easier. Those late-Qing efforts at script reform, they write, began among private people and came to little. The notes leave the subject there, before a later table of later periods. The same Korean report, in a longer form, sits on CampusDown.
Last updated 15 November 2026
They treat language as a social fact, shaped by politics, economy, culture, and psychology, and they split pre-1949 reform into two efforts: putting Chinese characters in order and simplifying them, and attempts to write Chinese in a phonetic script. For a student of China, they write, that history is needed if one is to look at the costs that have come with economic growth.
Until intellectuals awoke after the Opium War in the mid-nineteenth century, they write, almost no one questioned characters as the core of Chinese culture. The sheer number of graphs then became a source of trouble. The movement, they say, entered a serious stage with the new intellectual Lu Feikui, and took a new turn in the May Fourth period when Hu Shi, Qian Xuantong and others called for simplification. Qian held that a move from traditional to simplified forms was a natural law of the script itself.
In February 1936 a first table of 324 simplified characters was issued, but within half a year an order came that there was no need to spread it, and it was not in fact carried out. That table, they write, was the last effort at simplification before 1949; its cancellation left the work to the years after the founding of the People’s Republic. In late Qing, Lu Zhuangzhang of Xiamen made a roman-style alphabet, and six years later a fellow townsman argued for a phonetic script to make learning easier. Those late-Qing efforts, they say, began among private people and came to little.
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