From “盡忠報國” to “精忠報國”: How a Historical Phrase Was Rewritten

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From “盡忠報國” to “精忠報國”: How a Historical Phrase Was Rewritten

The story of the famous general Yue Fei (岳飛, 1103–1142) and the four characters on his back is one of the most enduring symbols of loyalty in Chinese tradition. However, the widely known phrase “精忠報國” (jingzhong baoguo, “serve the country with utmost purity of loyalty”) is actually a later, popular distortion of the original historical record, which gave instead the words “盡忠報國” (jinzhong baoguo, “serve the country with one’s utmost devotion”).

In the official Song dynasty history, the Song Shi (《宋史》), Yue Fei’s biography clearly states that his back was inscribed with “盡忠報國” (jinzhong baoguo), deeply carved into the skin by his mother, as a lifelong injunction to serve the nation to the utmost. This phrase means “to exhaust one’s loyalty and effort for the country” — it emphasizes total dedication, effort until the end, and moral responsibility, framed in a Confucian sense of duty to the ruler and state.

The form “精忠報國,” however, does not appear in the original Song records as the words on Yue Fei’s back. Instead, it originated from the imperial banner given to Yue Fei by Emperor Gaozong of Song, who wrote “精忠岳飛” (Jingzhong Yue Fei — “Yue Fei, with pure and perfect loyalty”) on a banner to reward his general’s military service. “精忠” (jingzhong) means “pure, refined loyalty” — a more idealized, almost spiritual form of loyalty, closer to an imperial label of virtue than a personal vow.

Over later centuries, especially in Ming and Qing dynasty novels, operas, and folk traditions, the two concepts blurred. People began to conflate the banner’s “精忠岳飛” with the tattoo on his back, and the phrase was transformed into “精忠報國” as the popular version of Yue Fei’s motto. This version entered modern textbooks, school plays, and propaganda images in the 20th century, especially in mainland China and Taiwan, where the state used Yue Fei as a model of loyalty and patriotism.

The significance of this change is profound:

• Historical → Symbolic: Yue Fei’s personal vow of “盡忠報國” (doing one’s utmost for the country) was replaced by “精忠報國” (loyalty of perfect purity), turning a historical figure into a state-sanctioned icon.

• Effort vs. Purity: “盡忠” emphasizes action, perseverance, and moral effort, while “精忠” shifts focus to moral purity and unquestioning obedience, making it more useful for state propaganda.

• State appropriation: The change allowed authorities to redirect loyalty from the people’s duty to the state toward an ideal of loyalty to the state itself, often regardless of the ruler’s virtue or justice.

In modern usage, “精忠報國” has become a standard patriotic slogan, especially in military and school education, but it obscures the original Confucian spirit of “盡忠報國” — a call to serve the nation fully, even when the state is flawed, not simply to obey it.

Rituals of Release: Popular Spectacles of Subversion Across Cultures

 That's a fascinating connection! The Dutch event you're thinking of, often involving a greasy rope or a slippery eel and a subsequent brawl, is a similar manifestation of a popular cultural ritual. It, like the Great Cat Massacre, involves the lower classes, animals, public spectacle, and a release of social tension.

Rituals of Release: Popular Spectacles of Subversion Across Cultures

Robert Darnton's analysis of the Great Cat Massacre and similar European rituals, such as the Dutch greasy eel or rope game (where prizes were fought over, often resulting in chaos and injury), highlights a universal phenomenon: the use of public spectacle and ritualized violence to express and temporarily resolve deep social and class tensions. While European examples often featured the animal as a substitute for an oppressive master or a witch, East Asian traditions tended to channel aggression through seasonal festivals, theatrical mockery, and animal sacrifice tied to spiritual appeasement.

Cultural Parallels in East Asia

In East Asia, particularly China, cultural control over public order has historically been strict, meaning open, spontaneous riots disguised as rituals (like the Cat Massacre) were less common. Instead, social release was often channeled through highly ritualized, state-sanctioned, or seasonal popular festivals.

1. The Lantern Festival and Licensed Mockery (China)

During the Lantern Festival (元宵節, Yuánxiāojié), the closing event of the Chinese New Year, order was frequently inverted. While not involving animal cruelty, this festival allowed for licensed mockery of local officials, the wealthy, and scholars.

• The Spectacle: Popular theatrical troupes would perform satirical plays and skits, openly lampooning the powerful. For a brief period, the ruling elite had to tolerate being the object of the lower classes' laughter and scorn.

• The Function: This public shaming acted as a ritualistic pressure valve, allowing the common people to air grievances against the local bureaucracy and the wealthy elite without facing direct reprisal. It served the same social inversion function as the European massacres.

2. Animal Sacrifice and Appeasement (China and Southeast Asia)

In many traditional East Asian folk religions, particularly those focusing on placating angry or malevolent spirits (like hungry ghosts or plague deities), animal sacrifice was a common, highly public spectacle. While not an act of socialrevenge, it was an act of spiritual appeasement often carried out by lower-class temple committees on behalf of the community.

• The Spectacle: The ritualistic slaughter of pigs, oxen, or goats was a key part of temple fairs and festivals, providing a potent, bloody demonstration of communal resolve against spiritual threats. The subsequent feast often redistributed food and power within the community.

• The Function: The drama channeled collective anxiety (be it famine or plague) into a public event, binding the community together while symbolically restoring cosmic harmony.

3. Ritualized Fights and Aggressive Sports (Korea and Japan)

In Korea and Japan, certain traditional sports and games, often associated with harvest or seasonal change, functioned as structured ways for different social groups or villages to express rivalry and aggression.

• Korea's Sseumbeok (Korean-style wrestling): Historically, village wrestling matches were fiercely competitive and sometimes violent, with the victorious village gaining symbolic prestige and, occasionally, even temporary rights to water or land. The aggressive physical rivalry served as a structured release for inter-village tension.

• Japan's Shinto Festivals: Many Shinto festivals feature chaotic, aggressive elements—such as purposefully ramming enormous floats together—that function as a controlled way to release collective, often class-based, energy and excitement.

Conclusion

Across cultures, when formal political structures fail to provide justice or social mobility, the lower classes turn to ritualized public spectacle to perform their grievances. Whether it's the satirical burning of an effigy, the public torture of a symbolic animal, or chaotic festival games, these events function as a vital, if often brutal, safety valve for collective frustration, temporarily reversing the established order through a shared moment of transgressive laughter or violence.